Circular Breathing

Bassoon Reed Finishing 1 /en/lessons/bdp86/#chapter-00-00 <Music: Hummel, Bassoon Concerto, I, Terry B. Ewell, bassoon, and Peter Amstutz, fortepiano, Oct. 1997, Kent University.> This is the first of a multi-video series on finishing bassoon reeds. This particular series is based upon an article I wrote titled "A Pedagogy of Finishing Reeds for the German System (Heckel System) Bassoon." This was published in The Double Reed and later re-published in Scrapes. 00:00 1
Bassoon Reed Finishing 1 /en/lessons/bdp86/#chapter-00-36 First I would like to start by making the listener aware of some excellent resources that are available for constructing bassoon reeds and a few actually deal with finishing bassoon reeds. The journal article by Heinrich, J. M. Heinrich is available on the IDRS (International Double Reed Society) website. This is an excellent article which presents a lot of very good material. There are two classic books (I guess you could call them that) that have available for many, years. They've been helpful for many bassoonists. There is Christopher Weait's Bassoon Reed-Making: A Basic Technique. And Mark Popkin and Loren Glickman also have a fine book. There's another very interesting book by Mark Eubanks called, Advance Reed Design & Testing Procedure for Bassoon. It is very innovative in its approach to reed making, involving all sorts of different testing procedures that are very interesting consider. Gerald Corey continues to provide a lot of information for bassoon reed makers. He has a videotape. This is his Kockenhauer Parallel trim bassoon reed information. He is also coming out with some new materials soon. Perhaps the most comprehensive book on the market today about Lou Skinner's theories and techniques of bassoon remaking is written by James McKay and others. I want to make you aware of the few web sites. Many of my students and I have taken some very careful measurements of bassoon reeds and we provide these on the web with pictures and measurements. You can go to www.idrs.org and look at the website. For example, there is some close up pictures of the tip; and you can see the lay [blades] of the reed--they are carefully labeled by reed maker and include the measurements as well. You can have a look at these bassoon reeds. I encourage you to do so. Many of the reeds the Bassoon Reed Project are taken from articles that I co-authored with some of my students. We have a collection of John Miller's reeds that were measured, other reeds by a North American bassoonists, contra bassoon reeds, and even a few oboe reeds are part of these measurements. These are all available on the web. 00:36 2
Bassoon Reed Finishing 1 /en/lessons/bdp86/#chapter-03-12 Now I want to get started on the article and I will now talk about what led me to write the article. When I examine many of the fine materials on bassoon reed making I notice that three-fourths of the articles or three-fourths of the books deal with the construction of the bassoon reed and very few articles or books deal with the finishing process. I think a lot of this has to do with the fact that the construction of the bassoon reed can be done in a very objective manner based on measurements, on appearance. There can even be a sort of "recipe approach." If you do this, this, and this; you you will get this result. Unfortunately with the cane material being so variable, once you have your reed close to a finished stage you now need to have a subject approach. You need to play on the reed and make decisions based on how the reed feels, what is the resistance, how does it respond, what is the sound... How does this reed relate to the concept you want for a bassoon reed? So we are dealing with subjective criteria and these are more ephemeral [insubstantial]. For instance, if you want a darker sound, if you want a louder low register, if you want a more dependable high register, what is it you need to do? This article will be addressing some of these issues. It is my hope that it will give you some concepts that will be very helpful for your reed making. 03:12 3
Bassoon Reed Finishing 1 /en/lessons/bdp86/#chapter-04-45 Well, in order to set the groundwork for this series of videos and this article that I have written, we need to define some terms. In fact this first video deals with these terms and basic concepts we will need to know. So here's some basic terms of the bassoon reed. This particular bassoon reed is not to proportion. In fact this article does not provide measurements at all. Please don't measure these illustrations. If you need to have measurements of bassoon reeds please look at the Internet sites I have already provided. Starting at the top we have the "tip" of the bassoon reed. These angled corners let's refer to as the "wings" of the bassoon reed. There is a very critical center that we term the "heart" of the reed. That's very important for the tone quality and the vibrational characteristics. These alleyways here we will be talking about later. Here we have the "spine" that goes down the center of the reed. On the sides of the reed we have the "rails." This is all part of the lay of the blade. As we get to the tube we have the "collar." Many bassoon reed makers leave a little bit of distance between the first wire and the collar. There are some bassoon reed makers that don't make a collar at all. This is more typical of the type we are going to call "sloped" or "pyramid" that we will talk about later. Here is the first wire. The second wire is twisted on the other side. The third word is usually covered up by a "Turk's head" or some other wrapping on the bassoon reed. There are some reed makers that even add a fourth wire in this location. 04:45 4
Bassoon Reed Finishing 1 /en/lessons/bdp86/#chapter-06-39 I want to talk a little bit about the concept of a ratio. If we are talking about a measurement of the thickness of the spine vs. a measurement of the rail, that's the spine to rails ratio. If we refer to the heart and wings, that is the "heart to wing ratio." This is another ratio that I will be talking about in this particular article. If the spine is 2 and the rail is 1 in thickness, then we have a 2 to 1 ratio. If the spine is 2 and the rail is thicker--1.7--then you have a 2 to 1.7 ratio. <Music: Hummel, Bassoon Concerto, I, Terry B. Ewell, bassoon, and Peter Amstutz, fortepiano, Oct. 1997, Kent University.> 06:39 5
Bassoon Reed Finishing 2 /en/lessons/bdp87/#section-01 <Music: Hummel, Bassoon Concerto, I, Terry B. Ewell, bassoon, and Peter Amstutz, fortepiano, Oct. 1997, Kent University.> 00:08 1
Bassoon Reed Finishing 2 /en/lessons/bdp87/#section-02 There are a myriad of scrapes that are available for bassoon reeds. These are two of the hypothetical types of scrapes we have for the bassoon reed. The parallel scrape features of a quick sloping tip area and then is largely the same thickness from the heart to the back. Obviously you have reeds that are a compromise of these two types. The sloped shape you also have the tip area but then it slopes on up to where we find the bark or the area of the first wire. As I mentioned, some of the sloped or pyramid shapes will not feature called a collar or an abrupt ridge in this area here. 2
Bassoon Reed Finishing 2 /en/lessons/bdp87/#section-03 I prefer the term "sloped" and we will use the term here, but there are other reed makers who prefer the term "pyramid." 01:07 3
Bassoon Reed Finishing 2 /en/lessons/bdp87/#section-04 Now we are going to talk a bit about the "aperture" of the reed. The aperture is what you see when you look at the tip of the reed or the opening of the reed. Here we have two different types of apertures. We have one aperture that is basically a single curve and then we have another aperture where we have a curve that reverses direction. See right where the arrows point we have a change in direction. There are more complex curves to this aperture. We call this area of change "the point of inflection." These two reeds types will of vary in response. These apertures produce different types of reeds that we will discuss later on in this video series. 01:11 4
Bassoon Reed Finishing 2 /en/lessons/bdp87/#section-05 Now when we are referring to aperture we can talk about the height of the aperture, that is the distance between the two blades in the middle point of the reed (the tip opening that is the largest), and we can also talk about the width of the aperture, that is the point at which air is allowed to go into the reed. See right here at the edge here it is all black? That part of the reed is not allowing air through it. That part is not participating (at least as much) in vibration. This part is allowed to freely vibrated in the center section. So we talk about the aperture width, it is the width that is actually vibrating on the surface. This becomes important particularly for the reed with points of inflection. 02:04 5
Bassoon Reed Finishing 2 /en/lessons/bdp87/#section-06 You can see how in number 1, 2, and 3 the width of the aperture (as well as the height) varies considerably In fact this is the fantastic thing about a bassoon reed--particularly one with points of inflection. You are creating as it were, multiple reed shapes and multiple reed sizes. By reforming your embouchure on the reed, with various pressures of your embouchure on the reed you are actually changing the vibrational surface area of the reed. So here we are looking on were looking on.... Number 1 is too open as an aperture. You probably won't find many reeds that will work with an aperture like that. But it is highly stylized so that you get the idea. Notice that the width of the aperture in 1 is greater than the width is this aperture in 2. Here in number 3 we have a much smaller aperture width. So the vibrational area of this particular reed of this number 3 aperture is right in this area. This part does not participate as much in the vibration. 02:52 6
Bassoon Reed Finishing 2 /en/lessons/bdp87/#section-07 If we look at the lay [blade] of the reed I think you will begin to understand the vibrational surface. So what I show as number 1 had the aperture that was from here to here. You can see the edge of this black area in number 1 was not participating in that vibration. But everything else was freely vibrating and participating in that reed opening. Now as that reed opening closed to the 2nd aperture the black shaded area was closed off here and here and neither of these areas vibrated freely. This area (grey and white) all vibrated freely. In the 3rd all white--we've got a different lay of the reed all vibrating. 04:00 7
Bassoon Reed Finishing 2 /en/lessons/bdp87/#section-08 We will discover later that to the smaller the vibrating area of the reed, the more it favors the high register. The larger the vibrating area the more it favors the low register. So the number 1 aperture would be when you are playing with as loose an embouchure as possible, generally playing in the low register. The number 3 aperture would be where your embouchure is exerting more force on the reed and therefore is playing high notes, in the high register. 04:46 8
Bassoon Reed Finishing 2 /en/lessons/bdp87/#section-09 If we look at a reed with no points of inflection, it's different in that although the aperture height changes, there is generally little difference in the width of the aperture. So the reeds without points of inflection, despite the fact that you increase the embouchure pressure on the reeds, still freely vibrates along a large surface area. 05:16 9
Bassoon Reed Finishing 2 /en/lessons/bdp87/#section-10 Now here's a comparison, side by side, of h the openings of the reeds. Again you can see that that reed number 3 has a very small aperture here with a reed with points inflection and then there is still a pretty large aperture here. 05:46 10
Bassoon Reed Finishing 2 /en/lessons/bdp87/#section-11 The height has changed but again the width is pretty much the same for that particular aperture. I want to also talk about a couple of other terms that we have in this video series. 05:58 11
Bassoon Reed Finishing 2 /en/lessons/bdp87/#section-12 When we are addressing wire adjustments...let me go back to my reed here... if you round out a wire, making the tube rounder, that would be squeezing with tube with pliers on each side of the reed. If you flatten the wire, that is squeezing on this point and on opposite side, actually closing the wire down. That rounding and flattening the wires will be an important concept that will have later on in our video series. 06:10 12
Bassoon Reed Finishing 2 /en/lessons/bdp87/#section-13 Well, this closes the first of all the video series here. I want to close with a little prayer for you. I know that reed making can be absolutely frustrating. There have been many times in my life when I've been frustrated. as well with reed making. So I just want to pray for God's mercy in your life. So Lord I would pray that those who are working on reeds now and learning these new skills, you would be blessing them, God, and helping them to understand these concepts and quickly master the making of reeds. Amen. 06:55 13
Bassoon Reed Finishing 2 /en/lessons/bdp87/#section-14 <Music: Hummel, Bassoon Concerto, I, Terry B. Ewell, bassoon, and Peter Amstutz, fortepiano, Oct. 1997, Kent University.> 07:26 14
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-01 If you have not taken a look at the first video about reed finishing, I encouraged to do so. There are several concepts here I will be assuming that you understand. 00:15 1
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-02 This video here is essential for your understanding of the pedagogy I am putting forth for reed finishing. You may need to refer to this video several times. 00:27 2
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-03 Again I encourage you to visit idrs.org, or look at my article, or go to 2reed.net. The number “2” for 2reed. Look up the article on the “Pedagogy of Bassoon Reed Finishing” that I have supplied. 00:40 3
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-04 An important part of this concept is the idea of counterpoises. I have given here the definition of counterpoise. It is a force or influence that balances or equally counteracts another. 00:56 4
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-05 You will see in a moment or two that I use these concepts of specialty reed types as counterpoises for the way in which you can make reeds. 01:13 5
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-06 Here for example are the three reed type counterpoises. These are the three specialty reed types. We have one counterpoise that is the "High Note" reed. Another counterpoise is this "Low Note/Quiet" reed. The third is this "Concerto/loud" reed. 6
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-07 We see that the normal reed is in the middle of this and in fact draws on various features from all three reed types. So you might want to think of each of the specialty reeds as being an extreme. 01:46 7
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-08 If we had, for instance, just two counterpoises then we would have a continuum. Normal might be in this area and you travel towards high note or low note on this continuum. 02:05 8
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-09 As you move toward "Low Note" you would borrow from concepts that create a low note or quiet reed. But I have in my idea of reed making actually three counterpoises or three reed types. 02:19 9
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-10 So this drawing best illustrate the concepts. So let's address the reed types. 02:28 10
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-11 The normal read type,--that is the one that we found in the center of the different types of counterpoises--the normal reed type is the best possible compromise of the three specially reed types. 02:36 11
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-12 It features stable intonation, a pleasing tone, and good articulation in all of the registers, but maybe not as well as some of the reed types. For instance, the high note reed may articulate better in the high register than the normal reed type. The low note reed may articulate better in the low register the normal reed type. So it's still a compromise. 02:58 12
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-13 It features flexible dynamic contrasts. And it features points of inflection. That was a term we introduced in our last video of the series. 03:22 13
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-14 The specialty reed types, features the three: high note, low note... (I might add that this quiet reed type is one that I use when I play continuo. This is where you want very subtle playing that perhaps joins a cello or another continuo instrument; you are able to play very quietly with a great tone. But generally you don't play much above a mezzo-forte dynamic in some of these continuo parts so you would emphasize that particular reed type.) ...and the concerto or loud reed, which is one that you would play a concerto with, hence the title. 03:29 14
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-15 Let's look at some of the features of these three specialty reed types. The high note read type in general features a narrower shape, either or both in the blade itself or in the throat measurements as well--the tube. It has a shorter blade, rounded first and second wires, a greater heart to wins ratio, (Again review the first video for the location of the heart and wings) a greater spine to rail ratio, points of inflection, and a parallel scrape. This is again an example I introduced in the last video with extreme examples of the parallel scrape where generally from the heart area on back where we have the same thickness to the blade or the sloped or pyramid scrape where you have a sloping through most of the reed blade. 04:14 15
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-16 The low note, quiet, or continuo reed features in general a wider shape (especially in the blade), a longer blade, flattened first and second wires, lesser heart to wings ratio, lesser spine to rails ratio with a thinner spine (that is going to be important for us to consider as well), a thinner tip, and often a sloping scrape. This seems to emphasize this reed a bit more. 05:23 16
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-17 Our third type is the concerto or loud reed. This generally has a wider shape (particularly in the throat), features no points inflection or some slight inflections at the wings, a lesser spine to rails ratio with thicker rails and actually thicker spine as well, and a larger aperture height and width. 05:59 17
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-18 Now let's just further explore this concerto or loud reed. 06:22 18
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-19 In order to play loud on the bassoon it's a function not only of the amount of surface area you have vibrating on the reed, but also amount of air you can blow through the reed. So for this reason the concerto reed in general has a higher aperture height and aperture width through all of its articulation. That allows for greater air flow through the reed. That is also the reason for the wider throat shape. This can also help will reed to be louder. Again you have the ability to put more air through the reed. 06:28 19
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-20 Now I have to give a caveat here. Not all specialty reed types will have every feature listed. They will draw upon many of the characteristics as components to achieve the desired results. But that doesn't mean that all these characteristics will be present. Think of these characteristics as a bit like the ingredients in a stew. More of one ingredient should be added if another ingredient is taken away or even omitted. This is sort of a recipe for playing. You might have a high note reed in which one player might find it preferable instead of having a narrow blade, for instance, instead to have a shorter blade. 07:07 20
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-21 Now let's try to understand the relationship between points of inflection and the reed types. I have mentioned that for instance, that the concerto reed does not have these points of inflection as much. You do tend to find these in the high note and often even in the low note reed. 07:55 21
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-22 Reeds with points of inflection allow for multiple reed apertures. This is due to the spring like action of the reed. The spring like action permits the performer to select varying reed apertures as is illustrated here. So you can make a choice of having a very open aperture to having an aperture that is very small and everything in between. Since the apertures change the vibration surface, it is almost as if you are changing the size of the reed. That's why it's very helpful to have the smallest reed possible for the highest register. That's why the illustration here in 3 shows a lesser vibration area--this white area would be vibrating. This would be closed off with more embouchure pressure shown here in number 3. Conversely you have a greater vibration area with a very relaxed embouchure. Only the very blackest areas here are dampening vibration. The rest of this would be vibrating. That would favor of course a lower register, a louder reed, and those sorts of issues as well. 22
Bassoon Reed Finishing 3 /en/lessons/bdp88/#section-23 <Music: Hummel, Bassoon Concerto, I, Terry B. Ewell, bassoon, and Peter Amstutz, fortepiano, Oct. 1997, Kent University.> 09:29 23
Bassoon Reed Finishing 4 /en/lessons/bdp89/#section-01 <Music: Hummel, Bassoon Concerto, I, Terry B. Ewell, bassoon, and Peter Amstutz, fortepiano, Oct. 1997, Kent University.> 00:18 1
Bassoon Reed Finishing 4 /en/lessons/bdp89/#section-02 This spring-like action of the points of inflection allows an infinite variety of apertures. As such it gives the widest dynamic contrast and diversity of timbre or tone on the reed. It helps the player to adjust to all sorts of different situations. Perhaps it is also helpful with intonation. So in general this is why I find that my normal reed needs points of inflection. I think that most players would say that their normal reed needs points of inflection as well. It allows for dynamic nuance, and gives the player a greater range of tone and abilities to play with. Now a reed with no points of inflection—again this tends to be the concerto reed type—will have what I call an “all or nothing” aperture. This is, of course, an extreme example. We don't even see points of inflection at the corners (edge of the tip area). If we were to have a number 4, it would show the reed all the way flat (closed). But notice how the entire surface of the reed, at least in this picture here, is all vibrating. However, the aperture height has been greatly diminished. This means less air is able to go through the reed. Obviously number 3 here is going to be quieter (softer) in dynamic than number 1. Number 3 is probably going to be easier to play up high; number 1 down low. So with the concerto reed you still have a maximum amount of vibration surface, but you are able through embouchure adjustments and adjustments of the reed aperture to play throughout the entire range of the instrument. 00:19 2
Bassoon Reed Finishing 4 /en/lessons/bdp89/#section-03 Let’s further explore these reed types in terms of how they apply to the normal reed. For instance, if you are having consistent difficulties with the high register of the bassoon , you might have a normal reed type that favors the low register. So for instance, your reed may tend to occupy this position, drawing only a little bit from the high note characteristics, favoring much more the low note or quiet characteristics. In this particular location it does not also favor the concerto reed. In order for you to gain better command of the high register and have more accuracy with the high register, towards the high note reed. So you would look at the concepts of what is in a high note reed and make some of those adjustments, make changes in what you find in the low note reed, moving it in the direction of the high note reed. 02:13 3
Bassoon Reed Finishing 4 /en/lessons/bdp89/#section-04 Now you notice that I have listed a number of characteristics of the high note reed. Part of reed making is learning which characteristic to change. A lot of this comes from experience. A lot can also come from learning from other reed makers, from talking with them, from learning from a teacher (if you have one), and of course experimentation. 03:19 4
Bassoon Reed Finishing 4 /en/lessons/bdp89/#section-05 If you are in that situation where you have a low note reed and you want to change it to a high note reed, well pick one quality of the high note reed that you think your reed doesn’t have and apply it to that reed and see what changes it made. It probably pushes it in this direction, but making it pushes it in a direction you don’t like. Maybe it changes the timbre, or the articulation, or something. So you may need to make another adjustment. But the way to learn these characteristics and how to move your reeds in one direction or another—for your normal reed—is to have your normal reed adopt more of these characteristics. 03:39 5
Bassoon Reed Finishing 4 /en/lessons/bdp89/#section-06 I know that in my career, when I first started my professional career playing with the Hong Kong Philharmonic, I had a reed in this location. It drew more on the concerto tendencies and definitely drew upon the high note tendencies. Through my playing experience, and part of this is because I play much more chamber music now than I do orchestral music, I think my reed has moved more over to this area. So everyone’s normal will move around in this spectrum. It is good for you to understand that your normal over the years will move according to the demands of playing you have. So having these concepts and being able to apply these different reed type counterpoises—these specialty reeds—will help you to adjust your normal reed and will help you gain the conception of not only how to make the specialty reeds (which are also important) but also how to make your normal reed. 04:17 6
Bassoon Reed Finishing 4 /en/lessons/bdp89/#section-07 Well, let me close with another prayer for you. God I would ask for your blessing on those listening to this video. That You would become real in their lives. That you would open their understanding to reed making and reed types. And Lord you would also open their understanding to You. We ask this in Your Name. Amen. 05:30 7
Bassoon Reed Finishing 4 /en/lessons/bdp89/#section-08 <Music: Hummel, Bassoon Concerto, I, Terry B. Ewell, bassoon, and Peter Amstutz, fortepiano, Oct. 1997, Kent University.> 05:48 8
Bassoon Reed Finishing 5 /en/lessons/bdp90/#section-01 <Music: Hummel, Bassoon Concerto, III, Terry B. Ewell, bassoon, and Peter Amstutz, fortepiano, Oct. 1997, Kent University.> 00:00 1
Bassoon Reed Finishing 5 /en/lessons/bdp90/#section-02 I trust that the first few videos have been helpful to you and have introduced you to some important definitions and concepts for bassoon reed making. This video will concentrate on observation and balancing, which are two very important things that the reed maker needs to do. When you consider your bassoon reeds you need to not only look at tuning and other aspects, but you should look at the balance of the reeds since this will optimize the reed playing both at loud and dynamics as well as throughout the range of the instrument. 00:13 2
Bassoon Reed Finishing 5 /en/lessons/bdp90/#section-03 I have four principal methods of observation that I use to instruct my students. All of these methods require a wet reed. They are really all quite simple. Really the only tool I need for these four methods is a bassoon reed plaque. The reason we use a wet reed is because the cane is suppler when wet and it is also easier to view the layers of the parenchyma, that is, the wood or grain, when the cane is moist. We will be able to observe that. In the last video in this series I have some reeds that I am putting before the camera, so you will be able to see what I am talking about. 00:53 3
Bassoon Reed Finishing 5 /en/lessons/bdp90/#section-04 One of the problems with an unbalanced reed is that we have the curvature of the blade in different places. Here is an example where the top blade is stronger forcing the lower blade to bend a bit. Here the bottom portion of this blade pushes up the top blade in this position. Here is an example where the entire top of the blade is stronger, although in this one portion (right) it is well balanced. I have a little maxim or saying I use. Often my students won’t know what to do to fix a reed. “If in doubt, balance it out.” This has been a very good help for me and my students as you are trying to improve the reed. Usually is the reed is out of balance, just simply balancing it will be a tremendous help. Besides the balancing, of course, some of the concepts and ideas introduced in the third video about counterpoises will be very helpful. 01:43 4
Bassoon Reed Finishing 5 /en/lessons/bdp90/#section-05 So let’s go to the four methods of observation. The first method is to visually examine the reed blade. This is looking at the fibers or grain of the reed. You are examining the blade for symmetry. In this example we can see grain fibers that extend further up on the left hand side on this particular reed than the right hand side. Now, actually if you look at a reed you will see fibers throughout the blade. Some will suddenly appear in this section. But here we are looking at these longitudinal fibers that started at the back. Then here we are into a different layer of the reed cane. 02:56 5
Bassoon Reed Finishing 5 /en/lessons/bdp90/#section-06 So looking carefully at the fibers and the texture can show you where the reed is too heavy. That is a very important method of observation that I use a lot in my reed making. Again it is easier to see the reed, it is easier to see those fibers in the blade, if the reed is wet. 03:50 6
Bassoon Reed Finishing 5 /en/lessons/bdp90/#section-07 The second method of observation uses what I call, “the bubble test.” The bubble test is done by positioning your fingers over the reed blade, looking at the tip—at the aperture of the reed directly in front of you, and slowly closing the reed with your thumb and index finger. So what you get is this bubble test. It will start with number 1 with next to no pressure from the fingers. As you close it a little further you get number 2. Notice that the aperture, the center, the opening, of the reed (this is what allows the air into the reed) is closing up. The blades are in contact here. In number 3 we have an even smaller aperture. 04:12 7
Bassoon Reed Finishing 5 /en/lessons/bdp90/#section-08 Now this is an excellently balanced reed because the aperture closes and lines up right where the center is. If the bubble is off-center, for instance, if the bubble is positioned over here; it would mean that side of the reed, the right-hand side of the reed is stronger. The left-hand side collapses first, the weaker blade is on this side. The right hand has a stronger portion of the blade and that is what is left open. That would immediately tell you that in order to balance this reed you don’t want to take material off the left hand side. You want to concentrate your energies on the right-hand side, taking off cane in that portion so eventually you can get the bubble aligned in the center. There should be symmetry to these blades. 05:05 8
Bassoon Reed Finishing 5 /en/lessons/bdp90/#section-09 The next step I use is what I call the “finger test.” Now I know that with the bubble test I used my fingers. Yes, I know that. But this finger test is where I feel the entire blade. I feel the tip area, I feel the heart, I feel both sides (left and right), I feel the alleys and areas near the rails. I find that my fingers are able to sense, able to feel, where there are heavier or lighter portions of the reed. What I can’t always see with my eyes I can feel with my fingertips. Our fingers are remarkably sensitive to pressure. You might find that this is a good and quick assessment tool for you. 05:57 9
Bassoon Reed Finishing 5 /en/lessons/bdp90/#section-10 The fourth method of observation is to take the bassoon plaque and insert it in the reed to observe the rail thicknesses. For instance, we have the plaque here inserted in the reed. The blades of the reed are spread apart ever so slightly so that you can observe the thickness between the metal plaque inserted here and the reed blades. Now, this particular reed here is symmetrical. Some reeds, however, will have one rail thicker (such as the lower) than the other. In that case this is another way for you to observe that you need to take off some of that lower rail in order to balance the reed. 06:53 10
Bassoon Reed Finishing 5 /en/lessons/bdp90/#section-11 Last of all, I want to mention that we have some other reed measuring tools that are very helpful as well. I haven’t mentioned these up to this point. A lamp (a light source) is a very nice method of measurement. I will show a video on that shortly. And also there is the dial indicator. 07:46 11
Bassoon Reed Finishing 5 /en/lessons/bdp90/#section-12 Many people find it helpful to look at reeds with a light source. This for example, is the first reed I have. You can see some of the grain easier. One thing you need to be aware of, however, when looking with lights sources is that depending upon the age of the reed and the density of the cane that reeds will look different. The denser the cane is, the more opaque the reed. Those were two new reeds I showed you. This is an older reed. It is a bit more opaque. It is more difficult to see through. This is probably the oldest reed of the bunch. You can see how much darker that reed is. But still you might find this a useful way to observe reeds, looking at the grain. 08:14 12
Bassoon Reed Finishing 5 /en/lessons/bdp90/#section-13 A dial indicator is another way in which a bassoonist can measure reeds. A dial indicator provides different measurements along the reed. The advantage of the dial indicator is its exact measurements. It is very good at measuring the center—spine, heart—of the reed. It is not as good, however, with measurements on the rails or the sides. That is one disadvantage with this particular type of measurement. 09:24 13
Bassoon Reed Finishing 5 /en/lessons/bdp90/#section-14 What a blessing it has been. I have been able to communicate with you, to give you some information. And now let me pray, and God will be communicating with you as well. Lord, I ask for you to be moving by your Holy Spirit, touching the lives of those listening to this, and God encouraging their hearts to move toward You. Amen. 10:01 14
Bassoon Reed Finishing 5 /en/lessons/bdp90/#section-15 <Music: Hummel, Bassoon Concerto, III, Terry B. Ewell, bassoon, and Peter Amstutz, fortepiano, Oct. 1997, Kent University.> 10:29 15
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-01 <Music: Hummel, Bassoon Concerto, III, Terry B. Ewell, bassoon, and Peter Amstutz, fortepiano, Oct. 1997, Kent University.> 00:06 1
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-02 We are going to begin by looking briefly at four reeds in order to give you an idea of how to do the visual observations. It will be difficult for you to fully see on camera what I can see visually myself. Naturally it is hard for me to adjust what you are seeing on camera as well. We will do the best we can. 2
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-03 When looking at reeds, observing the grain, we are looking at the fibers of the grain, seeing how they run down the blade of the reed. This first reed, for instance, (This is our wire up side. I identify that be the first wire.) has grain that looks pretty good. I do notice, however, right in this area here that the profiler might have taken out a little gouge (too much). Now I turn it over to the wire down side. I notice the topography. These grains are a little bit heavier than over here. This is seen in the coloration. As you get more toward the bark the color is more yellow in the grain. As you get towards the inside part of the cane, it is more white. 00:38 3
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-04 Now let’s take a look at the aperture. You will notice that the wire up side (here is the wire)is stronger than the wire down side on this reed. And I also notice that this side over here is weaker than this side. 01:38 4
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-05 When the reed closes, notice how the aperture closes off center. 02:14 5
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-06 Now you can always tell which side is stronger because it is a little bit like a wrestling match—two arms wrestling. You can very clearly see that this blade here (wire up blade) is stronger than the wire down blade. It is pushing this this direction, like that. That is a real good visual cue. 02:24 6
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-07 OK. Let me do the finger test now. I am testing with my fingers. I feel along the reed. Yes, I feel that this wire up side is heavier. You can see how that wire down side is collapsing more. I am feeling this way as well. 02:44 7
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-08 Then we can put in the plaque. We will test with the plaque in the reed. Here is the first wire. We were saying that the wire up side was a little bit thicker. It does appear to be a little bit thicker. Observe. 03:09 8
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-09 So those are the observations that would help me even out that particular reed. 03:22 9
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-10 Let’s look at another one. I see some nice straight grains going all the way through. I am not observing problems on that side. I am trying to get the right angle so that you can see the grain. It looks like in this area I may have taken out took much cane. That may have been off of the profiler. Let’s take a look at the aperture (tip). The wire is up here. Once again, the wire up side is a little bit stronger. When I close off this reed like that, pinching it closed, I observe that wire up this place is stronger than there. Also this is stronger than over there. Let’s do that again. The bubble ends in this area when I close it. OK. 03:29 10
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-11 Again we can put in the plaque. I ought to do my finger test. I forgot to do that. So I am just going to feel along here. Yes, wire up, I am definitely feeling that it is heavier particularly right here. It probably has something to do with the way I work on the reeds. (Pretend this is the knife.) Right handed people will take more on this side of the blade than this side. You tend to take off more cane closer to where your hand is than on the other side. 04:49 11
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-12 OK. Then of course you can put in the plaque to see if the sides are even. You don’t want to see any chunks or gouges taken out of the sides. 05:22 12
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-13 I have a reed here now that is one that I have performed with off and on for a while. Let’s take a look at the wire up blade. One thing I notice visually and I hope that you can see as well is that I took a little bit of a chunk right out there. See that little darker spot right in that area? Those are the things that you can visually see. I notice that the grain stops there. As you go through the layers of the grain it will change color. The fibers change. You can see the longitudinal fibers stop and then there is a color change. That indicates to me that I have a weakness in the reed there. 05:33 13
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-14 I always look at the reeds when they are wet. That side looks pretty good. 06:20 14
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-15 Let’s take a look at the tip and close the aperture. The wire side is up here. 06:27 15
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-16 I close that. It is pretty good. You see that the bubble closes right in the center. That is good. There are nice inflections on the sides here. This is a reed that will play a wide variety of dynamics very well. I don’t know if you can see this very clearly on the camera but the tip is better formed on that reed (on the right) than in this reed (on the left). The reed I am wiggling is yet to be fully finished. 06:36 16
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-17 Now we can do the finger test. After the fingers we can put in the plaque and see the sides. Yeah, I see those rails are thinner than the other ones (reeds) because I haven’t completed them. 07:12 17
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-18 In this particular reed the wire up side is slightly stronger than the wire down side. Just slightly stronger. I feel that in my fingers. This is because of the way the barrel formed. If you look carefully this barrel features a single crack here, which causes there to be more vaulting or a ridge along here. In the wire down side we don’t find a single crack right in the center. It is more evenly distributed. That is preferable. This will tend to have more of an even curvature to this side. So consequently and unfortunately it is an issue with balancing both blades. 07:35 18
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-19 Reeds are forgiving. None of us are perfect, except of course God. We deal with what we have here. 08:36 19
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-20 I want to just show you an older reed here. In this older reed you can really see how the fibers show up. As a reed ages you can see the difference in the fibers and the overall coloration of the reed. In this reed you can see the change at the tip. See those fibers? Just looking at a wet reed, see how that tip just “pops out” there? You can look at the fibers, the way they appear. 08:51 20
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-21 I hope that this has been a little bit helpful. Thank you. 09:22 21
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-22 Let’s end with a prayer. I thank you Lord, that you have given us the opportunity for another day to live. Thank you for the senses you have given us: touch and sight and feeling. Thank you Lord that can enhance that as we make our reeds. In your name, Jesus, amen. 09:28 22
Bassoon Reed Finishing 6 /en/lessons/bdp91/#section-23 <Music: Hummel, Bassoon Concerto, III, Terry B. Ewell, bassoon, and Peter Amstutz, fortepiano, Oct. 1997, Kent University.> 09:46 23
Mozart's Bassoon Concerto, 1 /en/lessons/bdp212/ Mozart's Bassoon Concerto, 1 Introduction and Editions This video provides an introduction to the most famous bassoon concerto and which editions to use for studying and performing. By Terry B. Ewell, Bassoon Digital Professor. Assisted by Vincent Igusa, bassoon and Catherine Renggli, piano. www.2reed.net. 0
Mozart's Bassoon Concerto, 1 /en/lessons/bdp212/#chapter-00-00 00:00 Music: Vincent Igusa, bassoon, and Catherine Renggli, piano. Towson University Recital Hall, 20 June 2017. Welcome, I am Terry Ewell, the Bassoon Digital Professor. I am quite excited to bring this new series to you about the Mozart Bassoon Concerto. The first movement of the Mozart Bassoon Concerto is perhaps the most significant work in the repertoire for bassoonists. I have performed the Concerto many times, including with the Hong Kong Philharmonic under the direction of Maestro Jah Jah Ling. The first movement of the Concerto is required for many university auditions. It is a staple of orchestral auditions as well. Last of all, the accessibility and beauty of the Concerto has made it a favorite with performers and audiences for many years. Thus, given the significance of the work, you should carefully research all features of the Concerto. My goal with these videos is to educate you about neglected and perhaps even unknown aspects of this prized possession in our repertoire. 00:00 1
Mozart's Bassoon Concerto, 1 /en/lessons/bdp212/#chapter-01-34 There are numerous editions of the Mozart Concerto available. I own seven print editions of the work. You might be thinking, are the editions really all that different? Well, let’s take a look. I have performed from the edition in Figure 1 for several decades. The version in Figure 2 was perhaps the most common edition of the Concerto in twentieth-century USA. Notice the striking differences between the two versions. Guetter has added dynamics, crescendos and decrescendos, articulations, and even con spirito. None of these appear in the version penned by Mozart. In Figure 1, Universal Edition, additions made by the editor are presented in parenthesis or with dashed lines. This allows the performer to accept or reject the editor’s suggestions. Let’s make another comparison in the Concerto. Thus, you can see that your choice of music will determine the manner in which you play and even the particular notes you perform in the concerto. The Guetter edition writes out the turn, and it appears quite different than the other versions. The turns in Examples B and C give B natural. These sound "correct" because of the many performances of the work you may have heard. However, the turn with B-flat would have been quite common for the performance practice in Mozart’s time. The editor in version A, the Universal Edition, indicates this. Only by referring to the Universal Edition or another edition more closely aligned with the original version would you know about playing a B-flat here. Music: Performance of mm. 50–57 There are many more differences between the editions, and you should consider them carefully. These are my recommendations for performance editions: Concerto in Bb Major K191 (Turkovic) – BSN/PN Composer: Mozart, Wolfgang Amadeus Publisher: Universal Edition (Austria) Edition: 18123 Concerto in Bb Major K191 (Urtext) (Study Score) – BSN/ORCH Composer: Mozart, Wolfgang Amadeus Publisher: Bärenreiter (Germany) Edition: TP253 Concerto in Bb Major K191 (Urtext) – BSN/PN Composer: Mozart, Wolfgang Amadeus Publisher: Bärenreiter (Germany) Edition: 4868-90 Concerto in Bb Major K191 (Score & Set) – BSN/ORCH Composer: Mozart, Wolfgang Amadeus Publisher: Breitkopf & Härtel (Germany) Edition: 15103set 01:34 2
Mozart's Bassoon Concerto, 1 /en/lessons/bdp212/#chapter-04-23 Not all of the editions above are without errors. For instance, the second movement of the Universal Edition of the bassoon part has missing rests in measures 1 and 2. In all cases, I suggest you check your version of the music with the free, authoritative edition of the work. Log onto the NMA Publications website and type in 191 in the appropriate box. 191 is the KV number for the Bassoon Concerto. NMA Publications There is no excuse, there is no excuse, there is no excuse for any bassoonist to be playing the Concerto without knowledge of the best edition of the work. This edition is available without charge to anyone with access to the Internet. 04:23 3
Mozart's Bassoon Concerto, 1 /en/lessons/bdp212/#chapter-05-17 Here are three articles that will further guide your study of the concerto: Ewell, Terry B. John Miller's Master Class on the Mozart Bassoon Concerto K191. The Double Reed 28/1 (Winter 2005): 63–68. John Miller's Master Class on the Mozart Bassoon Concerto K191 Ewell, Terry B. Playing those "Missing" Notes in Baroque and Classical Concerti. The Double Reed 20/1 (1997). Playing those "Missing" Notes in Baroque and Classical Concerti Ross, David J. "Ornamentation in the Bassoon Music of Vivaldi and Mozart," Part II. The Double Reed 9/3 (Winter 1986). I am very grateful for the assistance of my student Vincent Igusa and pianist Catherine Renggli, who perform this composition for the videos in this series. Last year, Vincent performed the first movement of the Concerto with the Baltimore Symphony Orchestra. He was a sophomore in high school at the time. It is my hope that this series will awaken in you a new appreciation for the Concerto and enlighten your understanding of this wonderful composition. Music: Vincent Igusa, bassoon, and Catherine Renggli, piano. Towson University Recital Hall, 20 June 2017. 05:17 4
Mozart's Bassoon Concerto, 2 /en/lessons/bdp213/ Mozart's Bassoon Concerto, 2 Playing the "Missing" Notes This video provides details on all the notes that Mozart wrote for bassoonists and recommends playing them. By Terry B. Ewell, Bassoon Digital Professor. Assisted by Vincent Igusa, bassoon, and Catherine Renggli, piano. www.2reed.net. 0
Mozart's Bassoon Concerto, 2 /en/lessons/bdp213/#chapter-00-00 00:00 Music: Vincent Igusa, bassoon, and Catherine Renggli, piano. Towson University Recital Hall, 20 June 2017. I have a few questions for you. When you perform a composition, do you play all of the notes written by the composer? Do you pick and choose which notes to play or which to ignore? What if everyone else left out notes the composer wrote, would you be brave enough to play the notes given by the composer? These questions might sound very strange to you. Hasn't everyone been playing all of the notes written for our instruments? You might be shocked to find out that this is not the case. By the time you finish this video, you will understand the issues more fully. 00:00 1
Mozart's Bassoon Concerto, 2 /en/lessons/bdp213/#chapter-00-42 Let's begin by examining some autographs, that is, original manuscripts, penned by Mozart. Unfortunately, the autograph of KV 191, the Bassoon Concerto, is missing so we will need to observe other works. However, the details we observe in these autographs can be directly applied to the Bassoon Concerto. This is a picture of the autograph for the first page of the Concerto No. 3 for Horn in E-flat Major. Notice that here Mozart has written a unique part for the Horn in the opening tutti section. There are rests in the part and then the horn joins in with the orchestra as a supporting, not solo instrument. This example presents the music in print, with the same horn part highlighted. If the soloist does not play here in the tutti passage, the ensemble is altered significantly. I suspect, however, that few horn soloists perform the highlighted notes when they play the concerto. This is a picture of the autograph for the first page of the Concerto for Violin K219 in A Major. Notice that the principal violin part is marked Col. 1me violin, which means the solo violin part performs the same notes as the first violin part in the opening. The next figure is the score to the Neue Mozart Ausgabe (NMA) of this Concerto. Highlighted is the solo violin part, which doubles the opening tutti with the first violin part in the score. The notation for the solo part is thus identical to the violin 1 part. You can see this in the printed edition of the score. However, when we examine the solo violin part, something has changed. The top portion is the beginning of the tutti section. Observe the smaller note heads here in the tutti section. However, in the solo part, below the line the notes are presented at full size. The editor has chosen to present the violin part in the tutti sections with smaller notes, implying in some way that they are less important than the larger notes. 00:42 2
Mozart's Bassoon Concerto, 2 /en/lessons/bdp213/#chapter-02-56 Now we observe two editions of the Bassoon Concerto. Before I point out the problems with the editions, please understand that both editions made very important contributions to bassoon performance. The Guetter edition was one of the first available to bassoonists in the USA that provided cadenzas and performance suggestions by an accomplished performer. The Weisberg edition, published by International Music Company, made the Concerto widely available at an affordable cost. The scholarship we now rely upon was not readily available and often not understood by these performers at the times of their editions. Now, notice that neither edition has any notes for the bassoon in the opening passage. In both instances the bassoon has no given notes in the tutti section. Here is the Universal Edition of the work edited by Milan Turkovich. Notice that notes are included in the beginning for the bassoon part, but they are smaller in size. This small font size continues throughout the first tutti section until the solo starts. Now let's examine the definitive edition of the work that is part of the Neue Mozart Ausgabe. The Neue Mozart Ausgabe is available here The opening features full-size notes in the solo bassoon part that double the cello part. This is quite typical for concertos in the Baroque and Classical periods. The full-sized notes continue up and through the bassoon solo. 02:56 3
Mozart's Bassoon Concerto, 2 /en/lessons/bdp213/#chapter-05-06 Many early Italian sources relate the word concerto to the Italian verb concertare, which means to arrange, agree, or get together. In addition, the Baroque concept of concerto also includes the concept of contending or competing. This coming together and contending is well displayed in the Concerto in the tutti and solo passages. The soloist comes together with the orchestra in the tutti sections and competes with the ensemble in the solo sections. 05:06 4
Mozart's Bassoon Concerto, 2 /en/lessons/bdp213/#chapter-05-45 If you are interested in a more detailed historical overview of the "missing notes," please read my article: Ewell, Terry B. Playing those "Missing" Notes in Baroque and Classical Concerti. The Double Reed 20/1 (1997). Playing those "Missing" Notes in Baroque and Classical Concerti 05:45 5
Mozart's Bassoon Concerto, 2 /en/lessons/bdp213/#chapter-05-59 Several years ago, a student of mine at West Virginia University was performing in the regional MTNA (Music Teachers National Association) competition. She played the first movement of the Concerto and did perform the tutti section notes written by Mozart. One of the judges, a wind player, wrote in the comments that the student should not perform the cues. Even though this person was selected as an expert by the MTNA to judge the competition, this musician demonstrated complete ignorance on the subject. I fault, to a degree, the editors of the Baroque and Classical concertos. Many have left out the tutti notes altogether. Others have perpetuated the misconception by printing smaller notes, thus giving the impression that they are cues. But I ask you, how many cues have you ever seen in music that go on for line after line? Any observant musician would suspect that something other than cues is happening here. So, we now understand all the notes that Mozart wished the bassoonist to play are those in both the tutti and solo sections. These include hundreds of notes that most performers neglect to play. The performance practice of our time is modeled after the Romantic ideal of the soloist versus the orchestra, a solitary genius standing up to the plebeian masses, as it were. How do we in our day and age restore the music to the intent of the composers in the Classical and Baroque eras? Music: Vivaldi, La Notte, BDP #21. Starting at 2:49. 05:59 6
Mozart's Bassoon Concerto, 2 /en/lessons/bdp213/#chapter-07-49 For my part, with just a few exceptions, I play the missing notes when performing with orchestras or in chamber music settings. One example of this is my performance of Vivaldi's Concerto La Notte, which is more of a chamber piece than a concerto in the Romantic and modern sense. You can observe my performances in videos on YouTube and 2reed.net. A visit to 2reed.net will give you access to the bassoon music, which I have specially edited for you. YouTube: Vivaldi Bassoon Concerto La Notte [The Night] Part 1 (2007, BDP #21) link Vivaldi Bassoon Concerto La Notte [The Night] Part 2 (2007, BDP #22) link 2reed.net I choose to play all of the notes in the first and third movements of the Mozart Bassoon Concerto. However, in the second movement, I find it more appealing to modern audiences—and less taxing on me—to omit the tutti notes with the strings. I suggest having a bassoonist sit in the orchestra and play the tutti notes in all of the movements, including those in the second movement. The soloist could then double in the first and third movement tutti sections. 07:49 7
Mozart's Bassoon Concerto, 2 /en/lessons/bdp213/#chapter-09-15 Many bassoonists are uncomfortable with the end of the third movement. The bassoonist finishes the solo section and just stands there looking "pretty" while the orchestra concludes the work. Leonard Sharrow confided in me his discomfort with this ending and even advocated performing an Italian version with notes for the bassoon paralleling the violin part at the end of the Concerto. In contrast, the simple and best solution is just to play the notes that Mozart wrote for the bassoon here. These notes provide a suitable conclusion to the Concerto. 09:15 8
Mozart's Bassoon Concerto, 2 /en/lessons/bdp213/#chapter-09-55 This then leaves us with considering the performance of the Mozart Bassoon Concerto with a piano reduction of the orchestral parts. What is the best way to perform this? As much as I would like to see all of Mozart's notes performed, the staging of bassoon with piano accompaniment is so artificial already that performing the tutti passages on the bassoon is just too jarring for our contemporary audiences. I now instruct my students to leave the tutti sections out when performing with piano accompaniment only, particularly when playing in competitions. I don't wish them to be penalized and misjudged. 09:55 9
Mozart's Bassoon Concerto, 2 /en/lessons/bdp213/#chapter-10-45 So, I will conclude here with the questions I gave at the beginning of this video. Given the information I have presented, when you perform a composition, will you play all of the notes written by the composer? Will you pick and choose which notes to play or which to ignore? What if everyone else left out notes the composer wrote, will you be brave enough to play the notes given by the composer? I hope that I have made a convincing case for you to play all the notes that Mozart wrote for your instrument. Bye. Music: Vincent Igusa, bassoon, and Catherine Renggli, piano. Towson University Recital Hall, 20 June 2017. 10:45 10
Mozart's Bassoon Concerto, 3 /en/lessons/bdp214/ Mozart's Bassoon Concerto, 3 Articulation Introduction to articulations and slurs. By Terry B. Ewell, Bassoon Digital Professor. Assisted by Vincent Igusa, bassoon and Catherine Renggli, piano. www.2reed.net. 0
Mozart's Bassoon Concerto, 3 /en/lessons/bdp214/#chapter-00-00 Music: Vincent Igusa, bassoon, and Catherine Renggli, piano. Towson University Recital Hall, 20 June 2017. 00:00 1
Mozart's Bassoon Concerto, 3 /en/lessons/bdp214/#chapter-00-18 In the prior videos, I presented recommended editions of the Mozart Bassoon Concerto and discussed playing all of the notes. In this video, we will examine the urtext edition of the work and consider articulations. It is often unrecognized by today’s musicians that the Classical period is an extension of Baroque performance practice. On January 1st, 1851, European musicians didn’t suddenly wake up and think “Now it is the Classical period, everything is new in music.” No, styles, ideas, and trends in the Baroque period continued well into the Classical period. This is particularly true with concertos. In the Baroque period, composers and musicians collaborated on the finished product—the performed music. In many ways this is analogous to Jazz performance practice in the 20th and 21st centuries. Every Jazz musician is expected to take the music, which is the chart, and then add their unique performance of it, most often including improvisation. Such was also the Baroque practice of performance. The composer provided a framework of music for the musician to which the performer added flourishes, graces, ornaments, and articulations. This can be seen clearly in the continuo music for the Telemann Sonate in F moll. Telemann provided the keyboard player with a bass line and numbers—referred to as figures. The keyboard musician was then expected to create an accompaniment with the right hand that filled in the part. Accomplished keyboard artists of that time would improvise this accompaniment “on the spot.” For more information about this, please see the seminal work on keyboard playing in the Baroque period: Bach, Carl Philipp Emanuel. Versuch über die wahre Art das Clavier zu spielen. Versuch über die wahre Art das Clavier zu spielen, H.868, 870 (Bach, Carl Philipp Emanuel) Translation by William J. Mitchell. Essay on the True Art of Playing Keyboard Instruments, New Edition. Ernst Eulenburg Ltd., 1974. 00:18 2
Mozart's Bassoon Concerto, 3 /en/lessons/bdp214/#chapter-02-44 There are several aspects of this performance practice that carry into the Classical period. Improvisation was featured in instrumental cadenzas. Ornamentation was added by performers in solo works. Furthermore, composers expected performers to add articulation to the music. 02:44 3
Mozart's Bassoon Concerto, 3 /en/lessons/bdp214/#chapter-03-05 Finding an urtext edition, that is a version that provides music as close to the autograph as possible, is vital for deciding articulation. Choosing an edition where all the articulation decisions are made by an editor removes freedom of expression from the performer. You should welcome the opportunity to showcase your musical judgement and taste. 03:05 4
Mozart's Bassoon Concerto, 3 /en/lessons/bdp214/#chapter-03-35 Every performer should play the Concerto differently. One would not expect every performance of the jazz standard “Lady Bird” to be identical. In fact, that is abhorrent and antithetical to the very nature of Jazz performance. Likewise, a “cookie cutter” approach to the Concerto makes a mockery of the intent of the concerto during the Classical period. The Concerto is meant to showcase the musician’s expertise as an innovator and interpreter, not just a technician. 03:35 5
Mozart's Bassoon Concerto, 3 /en/lessons/bdp214/#chapter-04-14 Here is the opening of the solo in the first movement of the Concerto from the Neue Mozart Ausgabe (NMA) website. I have extracted the bassoon part from the online urtext edition. NMA Online Edition (Type in KV 191 in the upper left box, then "go" on the right) Notice how sparse the articulation is. There are very few slurs in the part and few recommendations from the editor. 04:14 6
Mozart's Bassoon Concerto, 3 /en/lessons/bdp214/#chapter-04-32 Let’s compare the NMA edition to the Universal edition of the work, the version that I have performed from for many years. There are a few differences in the articulation, which I have circled in red. In the NMA edition, there is a slur in measure 35 that is not contained in the Universal Edition. This slur is typically played by bassoonists and I perform it as well. In the NMA edition in measure 36 the slur is recommended by the editor. Since this is a repetition of the earlier measure, it makes perfect sense to add it. Milan Turkovic, the editor of the Universal edition, recommends adding a slur in measure 38. Slurring trills into the following note is typical for classical music and this is an excellent recommendation. 04:32 7
Mozart's Bassoon Concerto, 3 /en/lessons/bdp214/#chapter-05-24 A careful study of the Concerto, however, will reveal that there are few slur marks added. Mozart has left decisions about additional slurs up to the performer. The Concerto is thus a partially completed painting on which the performer should add further brush strokes. This is not a “paint by the numbers project”; rather, you should produce a unique artistic expression. 05:24 8
Mozart's Bassoon Concerto, 3 /en/lessons/bdp214/#chapter-05-59 Certain principles guide the choice of articulation. The choice of slurs can aid in clarity and technical facility. For instance, I find the slurred pairings at the end of the solo section in measure 148 quite helpful: Adding slurs to the arpeggios, for instance in measures 45–46, may also help clarity. There are several combinations that would work here: two slurred and two tongued, three slurred and one tongued, or all slurred. 05:59 9
Mozart's Bassoon Concerto, 3 /en/lessons/bdp214/#chapter-06-36 Added slurs provide emphasis to notes. Longer notes are more audible than shorter notes. Adding slurs helps to bring out the important melodic line: D4–B♭3–F3–D3–B♭2. 06:36 10
Mozart's Bassoon Concerto, 3 /en/lessons/bdp214/#chapter-06-53 Lyricism is aided by adding slurs. For instance, the end of the opening statement in measure 55. This slur, indicated by the dashed line, is recommended by the NMA editor. 06:53 11
Mozart's Bassoon Concerto, 3 /en/lessons/bdp214/#chapter-07-08 I encourage you to carefully read the transcript of John Miller’s Master Class on the Mozart Bassoon Concerto. In it Mr. Miller provides some helpful comments on articulation in the Concerto. Ewell, Terry B. John Miller’s Master Class on the Mozart Bassoon Concerto K191. The Double Reed 28/1 (Winter 2005): 63–68. John Miller’s Master Class on the Mozart Bassoon Concerto K191 07:08 12
Mozart's Bassoon Concerto, 3 /en/lessons/bdp214/#chapter-07-24 Choices of articulation are just the start to your individual expression of the Concerto. In the next video, I will present how ornamentation in the Concerto can further demonstrate your innovation as a performer. Music: Vincent Igusa, bassoon, and Catherine Renggli, piano. Towson University Recital Hall, 20 June 2017. 07:24 13
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/ Mozart's Bassoon Concerto, 4 Ornamentation 1, Introduction and Appoggiaturas This video provides an introduction to the most common ornaments in the bassoon concerto. By Terry B. Ewell, Bassoon Digital Professor. BDP 215. Assisted by Vincent Igusa, bassoon and Catherine Renggli, piano. www.2reed.net. 0
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-00-00 Music: Vincent Igusa, bassoon, and Catherine Renggli, piano. Towson University Recital Hall, 20 June 2017. I have several recordings of the Mozart Bassoon Concerto in my vinyl collection. In addition, I also own several CDs of the Concerto. Despite the time and cost of creating all of these recordings, it appears that we still don’t have a recording of the work with all of Mozart’s notes and with style, ornamentation, and free embellishment appropriate to the Classical period. In this video we will discuss aspects of ornamentation and free embellishment. I hope that it will open your understanding on the topic. Perhaps you will be the person in the future to present the Mozart Bassoon Concerto in its full glory. 00:00 1
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-01-06 Part of your education should include a study of ornamentation. This is especially needed since composers from the Baroque period produced volumes of works for the bassoon. Performers who present Baroque compositions without ornamentation are equivalent to Jazz musicians who perform Jazz without improvisation. Neither is historically correct. 01:06 2
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-01-37 You might find helpful my video series on ornamentation. YouTube playlist: 2reed.net videos, music, and articles: Concert reviews and publications in the early 1700s into Schubert’s time in the 1820s and beyond indicate that vocalists regularly added free embellishments to the music, not singing exactly what was on the page. There is thus an unbroken tradition of free embellishment from the Baroque period through Mozart and to later composers in the early Romantic period. 01:37 3
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-02-12 "In the nineteenth century, singers varied their performances much more broadly than twenty-first century vocal practices suggest. Vogl had his own personal style of performance, but it was related to nineteenth-century vocal practices. Vogl's manner coincided with instructions for realizing ornaments and introducing free embellishments found in nineteenth-century vocal treatises. In many cases, there was not a single correct way to realize embellishments in the nineteenth century; instead, there was a range of possibilities." Joseph R. Matson. Johann Michael Vogl's alterations to Schubert's "Die schöne Müllerin." University of Iowa, Spring 2009. 02:12 4
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-02-57 Thus, an informed performance of the Mozart Bassoon Concerto must include ornamentation beyond that already written in the music. Here are some important publications from that time period to consider. 02:57 5
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-03-15 Quantz, Johann Joachim. Versuch einer Anweisung die Flöte traversiere zu spielen. Versuch einer Anweisung die Flöte traversiere zu spielen On Playing the Flute, translated by Edward R. Reilly. London: Faber and Faber, 1966. 03:15 6
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-03-24 Bach, Carl Philipp Emanuel. Versuch über die wahre Art das Clavier zu spielen. Versuch über die wahre Art das Clavier zu spielen, H.868, 870 Translation by William J. Mitchell. Essay on the True Art of Playing Keyboard Instruments. Ernst Eulenburg Ltd., 1974. 03:24 7
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-03-35 Also of interest are these articles by Robert Levin: Robert D. Levin. "Improvised Embellishments in Mozart's Keyboard Music." Early Music 20/2 (May 1992), 221–233. Robert D. Levin. "Performance Prerogatives in Schubert." Early Music 25/4 (November 1997), 723–727. 03:35 8
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-03-44 We should give special thanks to John Miller and his bassoon symposium for supplying us with an article by eminent scholar Frederick Neumann on works for bassoon. If you don't have time to read the texts I just recommended, you need to read the transcription by David Ross on a lecture given by Dr. Neumann. Ross, David J. "Ornamentation in the Bassoon Music of Vivaldi and Mozart," Part II. The Double Reed 9/3 (Winter 1986). 03:44 9
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-04-12 This article provides a quick summary of ornamentation in Mozart's music for bassoon. An online version of the text is available through Archive.org. Ornamentation in the Bassoon Music of Vivaldi and Mozart The figures, however, are missing in this free version, so you need to gain access to the article either through joining the International Double Reed Society or by finding a copy of the journal. 04:12 10
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-04-42 Neumann in his lecture makes an important observation that Italy rather than northern Germany provides the primary influence for ornamentation in Mozart's works. Mozart's father made three extended trips to Italy with the young Wolfgang between 1769 and 1773. Wolfgang's love of opera is further evidence of the influence of Italian composers. It is not surprising, then, that W. A. Mozart's music is characterized by vocal qualities, including choices of ornamentation. 04:42 11
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-05-27 The Neumann article includes many examples of ornaments in the Concerto. Time doesn’t allow for me to discuss them all, so I will just present one example in this video and one in the next. Please note that Neumann gives these as recommendations, not rules. 05:27 12
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-05-47 The most important ornament in Baroque, Classical, and even Romantic music is the appoggiatura. This ornament creates one of the most powerful expressive gestures in Common Practice music and often is the goal of musical phrasing. If you have time to study just one ornament, this is the one! 05:47 13
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-06-09 Quantz thinks so highly of the appoggiatura that it is listed first among all ornaments in his treatise. 06:09 14
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-06-15 The word appoggiatura comes from the Italian appoggiare, "to lean." Appoggiaturas are metrically stressed dissonances. Often these appear on downbeats. These notes have stress and weight. 06:15 15
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-06-35 Let's examine the opening of the second movement bassoon solo. In the Urtext edition we find three grace notes, which here are placed in red circles with the main notes. 06:35 16
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-06-51 In figure 24, Neumann provides the Urtext edition on the top and his notation on the bottom. Although the notation on the top appears similar, the end result below is quite different. 06:51 17
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-07-07 The first two grace notes are played before the beats. In the last example, however, the grace note is played on the beat. The only way to understand why this is the case is to examine the harmony. Note that the bassoonist needs to be aware of the notes in the other instruments, not just in the solo bassoon part! Without an understanding of the harmony, there cannot be an appropriate choice. 07:07 18
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-07-38 Here is the Urtext edition with markings for harmony and appoggiaturas. The first grace note is a chord member. G4 is part of a C major chord. Thus, this note is not a dissonance and cannot be an appoggiatura. Appoggiaturas are always dissonances. Because the first grace note is not dissonant, it must be played before the beat. The second grace note is similar to the first; it is also not a dissonance. This grace note must also be played before the beat. The appoggiatura is on the B-flat and is already written into the music. The last grace note, however, is a dissonance and should therefore be played as an appoggiatura on the beat. It is a stressed note that is played with the value of a sixteenth note. 07:38 19
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-08-53 Notice that the appoggiaturas are the goals of the gestures in the solo. The notes prior to the appoggiaturas musically lead to them. Although the last grace note in print appears to be less important than the surrounding notes, it should, in fact, be emphasized by the performer with significant weight. 08:53 20
Mozart's Bassoon Concerto, 4 /en/lessons/bdp215/#chapter-09-26 In the next video we will examine appoggiaturas with trills. Music: Vincent Igusa, bassoon, and Catherine Renggli, piano. Towson University Recital Hall, 20 June 2017. 09:26 21
Mozart's Bassoon Concerto, 5 /en/lessons/bdp216/ Mozart's Bassoon Concerto, 5 Ornamentation 2, Trills and Eingangen This is the second video on ornamentation, presenting trills, eingang, and other ornaments. By Terry B. Ewell, Bassoon Digital Professor. BDP 216. Assisted by Vincent Igusa, bassoon and Catherine Renggli, piano. www.2reed.net. 0
Mozart's Bassoon Concerto, 5 /en/lessons/bdp216/#chapter-00-00 Music: Vincent Igusa, bassoon, and Catherine Renggli, piano. Towson University Recital Hall, 20 June 2017. This is our fifth video in the series on Mozart's Bassoon Concerto. I will summarize the presentations so far with two questions. 00:00 1
Mozart's Bassoon Concerto, 5 /en/lessons/bdp216/#chapter-00-31 The first question is, "Are you playing all of the notes and markings Mozart wrote?" I hope the answer to this question is "yes." The first video in the series established the best editions, those closest to Mozart's autograph. In order to play what Mozart wrote, we obviously need to examine an Urtext edition. The second video addressed the "missing notes," those tutti section notes written for bassoon that are ignored by most performers of the Concerto. Thus, we established all of the notes and markings given by Mozart. 00:31 2
Mozart's Bassoon Concerto, 5 /en/lessons/bdp216/#chapter-01-22 The second question is, "Are you playing only the notes and markings Mozart wrote?" I hope that the answer to this question is "no." The third video presented the need to add articulations beyond those given by Mozart. The fourth video presented information on ornamentation and elaborations given by the performer. Both of those videos advocated adding notes and markings beyond what was given in the Urtext edition. This video continues the careful examination of what was written by Mozart, how to stylistically perform it, and also what notes could and should be added. Thus, in this video and the next we will further establish the need to add new music in a performance of the Concerto. In a sense, the performer is a co-composer of the Bassoon Concerto. 01:22 3
Mozart's Bassoon Concerto, 5 /en/lessons/bdp216/#chapter-02-30 I have often heard the rule that all trills in Mozart's music should start with appoggiaturas, that is, with notes a step above the main notes on the beat. Neumann makes the point, however, that it is not essential to begin every trill in Mozart's music with an appoggiatura. 02:30 4
Mozart's Bassoon Concerto, 5 /en/lessons/bdp216/#chapter-02-53 In the last video we clarified the difference between grace notes and appoggiaturas and when they should occur. Here again we see the same principle in practice. Neumann indicates that the first trill could start with a grace note (C4) or on the main note (B♭3). Notice that this cannot be an appoggiatura, since the B♭3 is already the dissonance. If the main note of the trill is already an appoggiatura, then either a grace note before the beat could be given, or the trill should start on the main note. The rest of the trills he recommends starting on the main note. I prefer to add an appoggiatura to the C4 trill at the end of measure 50, however. Ross, David J. "Ornamentation in the Bassoon Music of Vivaldi and Mozart," Part II. The Double Reed 9/3 (Winter 1986). 02:53 5
Mozart's Bassoon Concerto, 5 /en/lessons/bdp216/#chapter-03-53 Mozart has written a Nachschlag or termination to the trill at the end of measure 50. Terminations are not written for the rest of the trills. My preference is to start each of those trills on the main note and without terminations. This provides better clarity for the line D4, B♭3, F3, D3, and B♭2. 03:53 6
Mozart's Bassoon Concerto, 5 /en/lessons/bdp216/#chapter-04-25 There are other guidelines for trills: how they are approached. If there is a large leap to a trill, often it is best to begin the trill on the main note to clarify the interval. Measure 106 of the third movement of the Concerto provides a good example of this. This approach, I think, ties in best with the vocal quality of Mozart's music. If an interval with the added appoggiatura is not easy to sing, then starting the trill on the main note is preferred. 04:25 7
Mozart's Bassoon Concerto, 5 /en/lessons/bdp216/#chapter-05-09 If the trill is approached stepwise from above, then the trill should also start on the main note. Measure 88 in the first movement provides an example of this. The choices with ornamentation I provide in the rest of this video are not intended to be rules for performance. Rather, I hope that they stimulate ideas for you and that you will create a version of ornamentation for the Concerto that is unique. The Concerto is a living musical expression, one that should be adapted by the performer within the constraints of the style and practice of the period. Don't just be an imitator; be original. 05:09 8
Mozart's Bassoon Concerto, 5 /en/lessons/bdp216/#chapter-05-58 The Eingang, or lead-in passage, is very important in the Concerto, both as an introduction to a structurally important tutti section and as an expression of artistry. Neumann defines an Eingang as an introductory passage that leads into a theme. An Eingang is needed in the first movement in measure 97 to lead into the orchestral tutti section. Notice that it is signaled with a fermata. 05:58 9
Mozart's Bassoon Concerto, 5 /en/lessons/bdp216/#chapter-06-40 Here is one of my examples of the Eingang for the first movement. Vincent's Eingang is a variation on mine. 06:40 10
Mozart's Bassoon Concerto, 5 /en/lessons/bdp216/#chapter-06-53 There is also an Eingang needed in the third movement in measure 106. Again, the fermata is an indication that additional music by the soloist is required here. Notice at the bottom of the score the editor even points out the requirement to add the lead-in! 06:53 11
Mozart's Bassoon Concerto, 5 /en/lessons/bdp216/#chapter-07-18 Here is my Eingang for the third movement. 07:18 12
Mozart's Bassoon Concerto, 5 /en/lessons/bdp216/#chapter-07-27 I add further ornamentation in the second movement, which is unique to my performance of the Concerto. It was typical in the Baroque period for musicians to ornament musical repetitions or sequences. This adds interest to the music. 07:27 13
Mozart's Bassoon Concerto, 5 /en/lessons/bdp216/#chapter-07-53 Last of all, adding concluding flourishes with scales or arpeggios is appropriate at important cadences which signal the end of a section. Here is the flourish I played in my performance of the Concerto about three years ago. 07:53 14
Mozart's Bassoon Concerto, 5 /en/lessons/bdp216/#chapter-08-16 Here is a traditional ending, which Vincent performs in measure 150. 08:16 15
Mozart's Bassoon Concerto, 5 /en/lessons/bdp216/#chapter-08-23 Our last consideration of embellishments to the Concerto will be in the next video, where we examine writing cadenzas. Music: Vincent Igusa, bassoon, and Catherine Renggli, piano. Towson University Recital Hall, 20 June 2017. 08:23 16
Mozart's Bassoon Concerto, 6 /en/lessons/bdp217/ Mozart's Bassoon Concerto, 6 Cadenza 1, Examples and Overview Examples and overview of cadenzas written by Ibert, Ewell, and Igusa. By Terry B. Ewell, Bassoon Digital Professor. BDP 217. Assisted by Vincent Igusa, bassoon and Catherine Renggli, piano. www.2reed.net. 0
Mozart's Bassoon Concerto, 6 /en/lessons/bdp217/#chapter-00-00 Music: Vincent Igusa, bassoon, and Catherine Renggli, piano. Towson University Recital Hall, 20 June 2017. Hello, I am Terry Ewell, the Bassoon Digital Professor. My mission is to present a well-reasoned pedagogy for bassoon practice and performance. This is the sixth video on the Mozart Bassoon Concerto, and we are at the half-way mark in the series. 00:00 1
Mozart's Bassoon Concerto, 6 /en/lessons/bdp217/#chapter-00-45 In this video we will examine three cadenzas for the Mozart Bassoon Concerto, first movement. 00:45 2
Mozart's Bassoon Concerto, 6 /en/lessons/bdp217/#chapter-00-53 Let's begin by reading Frederick Neumann's summary of what a cadenza in Mozart's music should contain. "Cadenzas are introduced by a 6/4 chord on the tonic with fermata, and end typically with a trill on the dominant seventh. They are more substantial, should preferably quote and elaborate on themes or motives from the movement, and should contain some brilliant passage work. Cadenzas should not be too long, should not markedly exceed the technical level of the piece, should not modulate too far afield, and should not jump outside the stylistic framework. In other words, they should neither technically nor stylistically flaunt their character as a foreign implant, one that disturbs the organic unity of the movement." Ross, David J. "Ornamentation in the Bassoon Music of Vivaldi and Mozart," Part II. The Double Reed 9/3 (Winter 1986). 00:53 3
Mozart's Bassoon Concerto, 6 /en/lessons/bdp217/#chapter-02-04 Now I am going to ask you to be an active listener. Take a piece of paper and pencil or pen and write down these key points taken from Neumann's presentation: 1) Style. The cadenza should match the style of the music (harmony, melody, rhythms, expression, technical character). 2) Quotation. The cadenza should make use of materials contained in that movement of the concerto. 3) Brilliant passage work. The cadenza should showcase the performer's abilities. 02:04 4
Mozart's Bassoon Concerto, 6 /en/lessons/bdp217/#chapter-02-48 Now as you hear performances of three cadenzas, write down your impressions. I am including the same introduction performed by Catherine Renggli in all the versions so that you can hear the context of the cadenzas. 02:48 5
Mozart's Bassoon Concerto, 6 /en/lessons/bdp217/#chapter-03-06 First, here is a cadenza written by Jacques Ibert with a copyright date of 1937. Unfortunately, since the copyright is after 1922, I will not be showing the full music on the screen. You will just have to listen carefully. Music: Jacques Ibert's cadenza, performed by Terry B. Ewell. 03:06 6
Mozart's Bassoon Concerto, 6 /en/lessons/bdp217/#chapter-04-16 Next is a cadenza I wrote when I was 19 or 20 years old. I first performed this years ago with the University of Washington Symphony Orchestra. Music: Terry B. Ewell's cadenza, performed by Terry B. Ewell. 04:16 7
Mozart's Bassoon Concerto, 6 /en/lessons/bdp217/#chapter-05-30 Finally, here is the cadenza written by 16-year-old Vincent Igusa, my student. He premiered this cadenza with the Baltimore Symphony Orchestra in Spring 2016. Music: Vincent Igusa's cadenza, performed by Vincent Igusa. 05:30 8
Mozart's Bassoon Concerto, 6 /en/lessons/bdp217/#chapter-06-47 Well, what did you think? The Ibert cadenza was wild, wasn't it? Cadenzas written in the early and middle 1900s featured extravagant musical departures from the style and key of the composition, with extended virtuosic flourishes. Audiences and performers at that time desired qualities in the music that greatly differed from those at the time of Mozart. 06:47 9
Mozart's Bassoon Concerto, 6 /en/lessons/bdp217/#chapter-07-33 In terms of Neumann's standards, however, the Ibert cadenza fell short in all but perhaps the third point. For the most part it did not match the style of the composition in harmony and quickly departed from the B-flat major key of the Concerto. The cadenza only briefly quoted material from the Concerto. I must say, however, that it was technically challenging and quite fun to play. The ascent to F5 at the end was particularly memorable, even though bassoons in Mozart's time did not play that high. 07:33 10
Mozart's Bassoon Concerto, 6 /en/lessons/bdp217/#chapter-08-20 In contrast, my cadenza and the cadenza written by Vincent seek to match the style of the Mozart Concerto and to borrow materials from the movement. Both of these cadenzas stand up well to Neumann's guidelines. 08:20 11
Mozart's Bassoon Concerto, 6 /en/lessons/bdp217/#chapter-08-45 I am particularly proud of what Vincent composed. His expression of the Mozart Bassoon Concerto is unique, and this cadenza can be his signature statement for many years to come. 08:45 12
Mozart's Bassoon Concerto, 6 /en/lessons/bdp217/#chapter-09-11 Several of my other students have composed wonderful cadenzas for the work as well. Some of these are posted on https://www.2reed.net/Cadenzas I hope that they will stimulate you to write your own cadenzas, which will be the subject of the next video in this series. 09:11 13
Mozart's Bassoon Concerto, 6 /en/lessons/bdp217/#chapter-09-45 Music: Vincent Igusa, bassoon, and Catherine Renggli, piano. Towson University Recital Hall, 20 June 2017. 09:45 14
Mozart's Bassoon Concerto, 7 /en/lessons/bdp218/ Mozart's Bassoon Concerto, 7 Cadenza 2, Writing the Conclusion This video discusses how to write the conclusion to a cadenza. By Terry B. Ewell, Bassoon Digital Professor. BDP 218. Assisted by Vincent Igusa, bassoon and Catherine Renggli, piano. www.2reed.net. 0
Mozart's Bassoon Concerto, 7 /en/lessons/bdp218/#chapter-00-00 Music: Vincent Igusa, bassoon, and Catherine Renggli, piano. Towson University Recital Hall, 20 June 2017. Welcome to our seventh video in the series on Mozart's Bassoon Concerto. I am Terry Ewell. 00:00 1
Mozart's Bassoon Concerto, 7 /en/lessons/bdp218/#chapter-00-27 Documents from Mozart's time period and before indicate that many performers improvised their cadenzas, that is, they created the music at the moment. There are performers today who do this as well, and they are to be congratulated for this. For me, however, the stress of just performing a prepared cadenza is enough. For this reason, ahead of time I carefully craft my composition. 00:27 2
Mozart's Bassoon Concerto, 7 /en/lessons/bdp218/#chapter-01-08 Let's review quickly guidelines about the cadenzas. 1) Style. The cadenza should match the style of the music (harmony, melody, rhythms, expression, technical character). 2) Quotation. The cadenza should make use of materials contained in that movement of the concerto. 3) Brilliant passage work. The cadenza should showcase the performer's abilities. To this, you might want to add a fourth guideline. 4) Historically informed. If desired, conform with historical "authenticity." 01:08 3
Mozart's Bassoon Concerto, 7 /en/lessons/bdp218/#chapter-01-56 For instance, you might want to limit the bassoon part to what could be played on an instrument from that time period. This would mean, for instance, limiting the high register range of the instrument to B♭4, the highest note that Mozart wrote in his concerto. Definitely the high F, F5, in Ibert's cadenza would be ruled out! 01:56 4
Mozart's Bassoon Concerto, 7 /en/lessons/bdp218/#chapter-02-27 Examples of cadenzas from the Baroque and Classical periods are shorter in length than those found in the late 1800s and 1900s. For instance, consider this second movement cadenza written by Mozart for the A Major Piano Concerto. This cadenza is from a collection of thirty-six cadenzas written by Mozart. I encourage you to study them as you start writing your own cadenzas. 36 Cadenzen für das Pianoforte von W. A. Mozart, Köch. Verz. No. 624. Leipzig: Breitkopf und Härtel, 1878. http://imslp.org/wiki/36Cadenzas%2CK.624%2F626a(Mozart%2CWolfgangAmadeus) 02:27 5
Mozart's Bassoon Concerto, 7 /en/lessons/bdp218/#chapter-03-01 In addition, I want to mention an article by composer and oboist John Corina on writing cadenzas. In his article he advocates writing a cadenza by adopting the harmonies created by Mozart in this collection and then using that harmonic framework to create a new cadenza. For instance, he takes the harmonies from Mozart's Cadenza No. 15 and then uses them for the Mozart Oboe Concerto. Corina, John. "The Cadenza Problem in Classical Concerto Movements," Journal of the International Double Reed Society, vol. 3 (1975). http://www.idrs.org/publications/controlled/Journal/JNL3/cadenza.html 03:01 6
Mozart's Bassoon Concerto, 7 /en/lessons/bdp218/#chapter-03-35 You might find this approach quite helpful. However, I prefer an approach that is less prescribed, which is presented in this and the next video. For our purposes here, let's consider our cadenza in three parts: 1) the opening statement, 2) the middle section which contains at least one sequence and other flourishes, and 3) the conclusion. 03:35 7
Mozart's Bassoon Concerto, 7 /en/lessons/bdp218/#chapter-04-35 Instead of just writing the cadenza from the beginning to the end, I suggest that you try writing it from the end first. This might help your creative process. Let's first consider the conclusion to the cadenza. 04:35 8
Mozart's Bassoon Concerto, 7 /en/lessons/bdp218/#chapter-05-04 Notice how Mozart sets up the conclusion to these cadenzas. In the conclusion, there does not need to be a direct quotation from the Concerto. Rather, these sections feature florid scales and arpeggios in the style of the composition. In Cadenza No. 1, a prominent A octave is given in the bass. This serves as a pedal tone and is on the fifth scale degree of D major, the key of this concerto. From that point a cadential 6/4 or dominant seventh chord is implied by the scale and the ending figure. The trill ends on a V7 chord leading to the tonic when the orchestra would enter. 05:04 9
Mozart's Bassoon Concerto, 7 /en/lessons/bdp218/#chapter-06-10 We find much the same approach given in the ending of the fifteenth cadenza. Notice that the dominant, here G, is emphasized in the bass, followed by arpeggiated figures for a cadential 6/4 chord which lead again to the V7 and the I. The ninth cadenza follows the same pattern as well. 06:10 10
Mozart's Bassoon Concerto, 7 /en/lessons/bdp218/#chapter-06-42 To create a cadenza ending, begin by identifying the dominant of the key signature and creating a pedal tone section that implies the harmony of the cadential 6/4 or the dominant chord. Since single-line instruments cannot provide the V7 during a trill, as Mozart does with the piano, I find that presenting the dominant or dominant seventh in this conclusion is particularly effective. 06:42 11
Mozart's Bassoon Concerto, 7 /en/lessons/bdp218/#chapter-07-16 In my cadenza, I create the dominant pedal tone area by first giving a half note on F, which is the dominant of B-flat, the key of the concerto. I then emphasize it in the lower octave to establish that F as the pedal tone of this last section. See the notes in the red box. 07:16 12
Mozart's Bassoon Concerto, 7 /en/lessons/bdp218/#chapter-07-47 I then emphasize the dominant chord—F, A, and C— throughout the conclusion. I have highlighted some of the chord members that are most heavily emphasized. Vincent sets up the dominant pedal in a manner similar to my cadenza. 07:47 13
Mozart's Bassoon Concerto, 7 /en/lessons/bdp218/#chapter-08-11 The harmony of his ending is, however, a bit more complicated. Much of the conclusion is devoted to the dominant chord through either metrically emphasized notes or arpeggios. Briefly, however, the cadenza returns to the cadential 6/4 before implying the dominant seventh conclusion on the trill. 08:11 14
Mozart's Bassoon Concerto, 7 /en/lessons/bdp218/#chapter-08-37 Now that you have seen several examples of conclusions to cadenzas, try writing a few now. Once you have done that you will be ready to view the next video, where I will discuss writing opening statements and the middle sections of cadenzas. 08:37 15
Mozart's Bassoon Concerto, 7 /en/lessons/bdp218/#chapter-09-11 Music: Vincent Igusa, bassoon, and Catherine Renggli, piano. Towson University Recital Hall, 20 June 2017. 09:11 16
Mozart's Bassoon Concerto, 8 /en/lessons/bdp219/ Mozart's Bassoon Concerto, 8 Cadenza 3, Writing the Opening and Sequence This video provides an introduction to the most famous bassoon concerto and which editions to use for studying and performing. By Terry B. Ewell, Bassoon Digital Professor. BDP 219. Assisted by Vincent Igusa, bassoon and Catherine Renggli, piano. www.2reed.net. 0
Mozart's Bassoon Concerto, 8 /en/lessons/bdp219/#chapter-00-00 Music: Vincent Igusa, bassoon, and Catherine Renggli, piano. Towson University Recital Hall, 20 June 2017. Well, wonderful. This will be our last video on writing a cadenza for the first movement of Mozart's Bassoon Concerto. In Video 6, I presented three cadenzas and we considered how best to match the style of cadenzas in Mozart's period. Video 7 introduced the idea of having a harmonic plan for the cadenza and we have seen some possible conclusions to the cadenza. Now in this video, number 8 in the series, we need to consider the opening and the middle sections of the cadenza. 00:00 1
Mozart's Bassoon Concerto, 8 /en/lessons/bdp219/#chapter-00-54 I suggest that you begin writing the opening and middle section of your cadenza by collecting some melodic fragments from the bassoon or orchestral parts. For instance, here are some ideas to consider. 00:54 2
Mozart's Bassoon Concerto, 8 /en/lessons/bdp219/#chapter-01-16 I have placed in red boxes possible ideas for the cadenza. Look at how rich these eight measures are! There are more ideas here than needed for an entire cadenza. You could choose other ideas throughout the movement as well. With so many ideas and possibilities, there are almost unlimited ways to construct a cadenza for this movement. 01:16 3
Mozart's Bassoon Concerto, 8 /en/lessons/bdp219/#chapter-02-02 Usually Mozart's opening statements in his cadenzas do not duplicate the opening statement in the solo instrument. Mozart, however, provides two B-flat 3s, which appear to reference the opening statement in the solo bassoon part. Starting either by quoting the opening statement or another section would be appropriate. 02:02 4
Mozart's Bassoon Concerto, 8 /en/lessons/bdp219/#chapter-02-28 The opening statement needs to start well from the cadential 6/4 chord, in this case a B-flat major chord. So, the safe thing to do is to start by outlining the chord in your melody. 02:28 5
Mozart's Bassoon Concerto, 8 /en/lessons/bdp219/#chapter-02-52 In this figure you see the violin parts at the top and a new opening composed for this video. Notice that I start with the cadential 6/4 chord, using F, B-flat, and D, and make use of the rhythm and contour of the first fragment in the violin part. 02:52 6
Mozart's Bassoon Concerto, 8 /en/lessons/bdp219/#chapter-03-18 See how that idea is elaborated a few times. Here I decided to move the upper note in each by a step to create an appealing melody with direction. After the third repeat, it is time to break off with something else, so I decided to imitate the last melodic fragment in the violin example for that passage. I end with a V7 harmony in mind, setting up a more virtuosic section in the tonic key. 03:18 7
Mozart's Bassoon Concerto, 8 /en/lessons/bdp219/#chapter-04-03 Here is how Vincent's opening statement borrowed from measure 32 in the tutti section. He then borrows from the bassoon part in measure 51 in the last measure of the example. 04:03 8
Mozart's Bassoon Concerto, 8 /en/lessons/bdp219/#chapter-04-20 So, my framework for the middle section is on the screen. You can see the opening section we created, the blank space for the middle section, and then a diminished seventh chord leading to the conclusion. I really like the idea given in Mozart's first cadenza where he approaches the pedal tone with a diminished seventh chord, so let's end my middle section with that chord. 04:20 9
Mozart's Bassoon Concerto, 8 /en/lessons/bdp219/#chapter-05-01 Sequences and repetition are important features of middle sections in Classical cadenzas. I have decided to start with the trill section in the bassoon solo at measure 51, but I will vary it just a bit. Then I will repeat it down a step, adjusting the notes to fit a V7 chord. Another repetition, higher in the V7 chord, continues it, and then I return back to the tonic, I. The adventure wasn't too far; I have returned safely back to "home." 05:01 10
Mozart's Bassoon Concerto, 8 /en/lessons/bdp219/#chapter-06-01 Now we need something else. I have already used that idea enough. Let's use the last two ideas in the string part, but instead of the arpeggios going downward, I need them to ascend. Since I end on a D in the first statement, it is quite nice to start on a D in the second statement. 06:01 11
Mozart's Bassoon Concerto, 8 /en/lessons/bdp219/#chapter-06-50 Now I need a little bit of music to take me from the D4 and get me to E4 in my diminished chord. Just repeating the last statement in the violin section in upward steps works great for this. Now let's hear how the whole thing sounds. 06:50 12
Mozart's Bassoon Concerto, 8 /en/lessons/bdp219/#chapter-07-16 In Vincent's middle section, here is the sequential pattern he uses. It is repeated twice and then breaks off after the third time. 07:16 13
Mozart's Bassoon Concerto, 8 /en/lessons/bdp219/#chapter-07-34 The sequential pattern in my cadenza is unusual due to the insertion of contrasting materials. 07:34 14
Mozart's Bassoon Concerto, 8 /en/lessons/bdp219/#chapter-07-43 On https://www.2reed.net/Cadenzas you will find copies of the cadenzas by Vincent, some of my other students, and me. All of these are provided with the kind permission of the authors. I hope that these give you further ideas for your cadenzas. 07:43 15
Mozart's Bassoon Concerto, 8 /en/lessons/bdp219/#chapter-08-16 I hope that these discussions of how to write a cadenza for the Mozart Bassoon Concerto have been helpful for you. Be inspired! Take the challenge and write your own cadenza. Perhaps in the future I will be able to hear what you have written. I look forward to it! 08:16 16
Mozart's Bassoon Concerto, 8 /en/lessons/bdp219/#chapter-08-52 Music: Vincent Igusa, bassoon, and Catherine Renggli, piano. Towson University Recital Hall, 20 June 2017. 08:52 17
Mozart's Bassoon Concerto, 9 /en/lessons/bdp220/ Mozart's Bassoon Concerto, 9 Tempos and the Tactus for the Bassoon Concerto Movements. Also, the Mozart Mashup Tempos and the tactus for the Bassoon Concerto movements. By Terry B. Ewell, Bassoon Digital Professor. Assisted by Vincent Igusa, bassoon and Catherine Renggli, piano. www.2reed.net. 0
Mozart's Bassoon Concerto, 9 /en/lessons/bdp220/#chapter-00-00 Music: "Mozart Mashup" with Terry Ewell and Elaine Ross. Welcome to the ninth video in this series on the Mozart Bassoon Concerto. Let me ask you, "How do you determine a tempo?" If you are similar to most people, you choose a tempo to the music that matches your playing technique, or a tempo recommended by your teacher, or perhaps one modeled by a famous performer. That said, we must recognize that our interpretation of music is part of the culture we grew up in, one that might be quite foreign to the culture of Mozart's day. 00:00 1
Mozart's Bassoon Concerto, 9 /en/lessons/bdp220/#chapter-01-11 I grew up in Seattle, Washington, in the USA. Occasionally I would eat Chinese food with my family at different restaurants in the area. At the end of every meal we knew that a treat was coming— fortune cookies. Years later I traveled to Hong Kong to perform as Principal Bassoon of the Hong Kong Philharmonic. I distinctly remember one of my first meals there with other friends from the orchestra. After eating a wonderful meal, I was shocked to discover that no fortune cookies were given. Later I learned that fortune cookies were invented in the USA and were not a part of traditional Chinese cuisine. All those years in America I had a wrong idea of what was true to an authentic Chinese meal. 01:11 2
Mozart's Bassoon Concerto, 9 /en/lessons/bdp220/#chapter-02-23 Some of the statements in my videos are no doubt jarring to you because they differ from conventions of performance today. I hope, however, that you will take the time to carefully consider whether our current preferences are new additions that are not part of the practice of performance at Mozart's time. I ask you, "How many 'fortune cookies' have we added to the authentic dish?" What expectations do we bring to a performance of the Concerto that are twentieth- and twenty-first-century changes? 02:23 3
Mozart's Bassoon Concerto, 9 /en/lessons/bdp220/#chapter-03-08 Most commonly, musicians today conceive of the tempos of each of the movements in a concerto as independent of each other, without a relationship. This was not the case, however, for composers and musicians from the Baroque and Classical periods. Some information on tempo relationships is contained in two articles I wrote several years ago. 03:08 4
Mozart's Bassoon Concerto, 9 /en/lessons/bdp220/#chapter-03-43 "Proportional Tempos in the Concertos of Antonio Vivaldi," The Double Reed 24/2 (2001): 113–121. "Proportional Tempos in the Performance of Vivaldi's Oboe Concertos," The Double Reed 26/2 (2003): 55–59. 03:43 5
Mozart's Bassoon Concerto, 9 /en/lessons/bdp220/#chapter-04-18 Those articles were aided by materials in David Epstein's book Shaping Time and from source documents. We don't have time to review here Epstein's book or my articles in detail. However, here is a quick summary of the observations I made in the articles that could inform a performance of the Mozart Bassoon Concerto: 04:18 6
Mozart's Bassoon Concerto, 9 /en/lessons/bdp220/#chapter-04-45 Composers during the Renaissance, Baroque, and Classical eras viewed tempo differently than we do. Multi-movement works were often conceived as unified not only through key signatures, but also through related tempos. Considering a unifying tempo, a tactus, for the entire work can aid a musician in defining the performance tempos of each movement in a composition. 04:45 7
Mozart's Bassoon Concerto, 9 /en/lessons/bdp220/#chapter-05-25 The recordings that I have made for these next videos in the Mozart series start from a unique position: that Mozart conceived of the Bassoon Concerto as a unified composition. It is unified not only in the key signature relationships of the movements, but also by tempo. Looking for a common tempo, I find that metronome marking 92 seems most appropriate as the tactus for the entire Mozart Bassoon Concerto. This tactus, however, will seem quite foreign to our modern ears that have been accustomed to different tempos. 05:25 8
Mozart's Bassoon Concerto, 9 /en/lessons/bdp220/#chapter-06-17 Take, for instance, the first movement of the Mozart Bassoon Concerto, which has now been elevated to an "Olympic Event." A contemporary performance of this movement sprints through the music in order to demonstrate the agility and prowess of the performer, rather than express the intentions of the composer at a slower tempo. This hyper-speed widely departs from the earliest meanings of the tempo marking allegro. 06:17 9
Mozart's Bassoon Concerto, 9 /en/lessons/bdp220/#chapter-06-53 Sandra Rosenblum writes in her book Performance Practice in Classic Piano Music: "In colloquial Italian, allegro means 'cheerful,' 'good-humored,' or 'lively.'" A further indication of the slower allegro tempos in the eighteenth century is provided in this interesting quotation about Mozart and Haydn conducting their own symphonies. 06:53 10
Mozart's Bassoon Concerto, 9 /en/lessons/bdp220/#chapter-07-19 "They never took their first Allegros as fast as one hears them here, and also no doubt in various German orchestras." (Rosenblum, p. 319; quotation from AMZ XIII/44 (30 October 1811, Col. 737).) Thus, there is significant evidence in historical sources pointing to a tempo for the first movement that is far less frantic than typically performed today. 07:19 11
Mozart's Bassoon Concerto, 9 /en/lessons/bdp220/#chapter-08-04 Please be aware, however, that this tactus of metronome marking 92 is a reference point, not a mandate. Slight variations from the tactus are appropriate. For now, however, let's conclude this video with a performance of my "Mozart Mashup." Here I perform all materials from the three movements at the same tempo, illustrating how the composition could be unified by the same tactus. 08:04 12
Mozart's Bassoon Concerto, 9 /en/lessons/bdp220/#chapter-08-48 If you wish, you will find this music is available for free on 2reed.net for your study. Enjoy! 08:48 13
Mozart's Bassoon Concerto, 9 /en/lessons/bdp220/#chapter-09-05 Closing portion of "Mozart Mashup" 09:05 14
Mozart's Bassoon Concerto, 10 /en/lessons/bdp221/ Mozart's Bassoon Concerto, 10 Discussion of the Second Movement Discussion of performance details in the Second Movement. By Terry B. Ewell, Bassoon Digital Professor. BDP #221. With Elaine Ross, piano. www.2reed.net. 0
Mozart's Bassoon Concerto, 10 /en/lessons/bdp221/#chapter-00-00 Music: "Mozart Mashup" with Terry Ewell and Elaine Ross Often the second movement of the Mozart Bassoon Concerto is performed in a slow, Romantic style. Making use of the tactus, however, illuminates a very different essence for the movement. Not only does using this tactus provide a tempo unity to the entire Concerto, but there are also aspects of the movement that are improved and clarified with this tempo. 00:00 1
Mozart's Bassoon Concerto, 10 /en/lessons/bdp221/#chapter-00-43 Let me first explain the tempo that I arrived at for the second movement. I relax the tempo slightly from the tactus of 92 to a tempo of 88 for the eighth note. Thus, the relationship between the speed of the quarter note in the first movement and the speed of the quarter note in the second movement is close to two to one. 00:43 2
Mozart's Bassoon Concerto, 10 /en/lessons/bdp221/#chapter-01-18 The metronome marking of 88 to the eighth note, or more appropriately 44 to the quarter note, is a faster tempo than most performances of the work. This faster tempo references Italian vocal compositions. We know from Mozart's biographical information, compositions, and documents from the time that Italian vocal traditions were quite influential on his music. 01:18 3
Mozart's Bassoon Concerto, 10 /en/lessons/bdp221/#chapter-02-10 This quicker tempo encourages vocal gestures and phrasing. I encourage you to try singing phrases in the second movement, particularly the longer phrases such as those starting in measures 13 and 23. You will find that this quicker tempo allows for complete phrases without adding breaths by the voice in the middle of phrases. Of course, the bassoon can perform longer phrases, but it is important to recognize the influence of vocal limitations upon the writing of lyrical melodies. 02:10 4
Mozart's Bassoon Concerto, 10 /en/lessons/bdp221/#chapter-03-16 Mozart provides the tempo indication Andante ma adagio with a time signature of "C," or common time. This indicates that the pulse of the movement should be felt in quarter notes, which thus provide the relaxed "walking tempo." It is important to note that the pulse is not in eighth notes. This is a mistake that many performers make. If the pulse is felt in eighth notes, the tendency is to slow down the music considerably. 03:16 5
Mozart's Bassoon Concerto, 10 /en/lessons/bdp221/#chapter-04-09 Of special interest is the change of orchestration in measure 9. For most of the introduction and the first part of the solo, the accompaniment has constant sixteenth notes. However, in measure 9 the sixteenth notes stop when the bassoon has the florid, cadenza-like passage with thirty-second notes. Notice how this allows for the bassoonist to vary the tempo slightly, much as an Italian vocalist would add rubato to a florid passage. You will hear in my performance that I take liberties with the tempo here. 04:09 6
Mozart's Bassoon Concerto, 10 /en/lessons/bdp221/#chapter-05-02 At slower tempos, this metrical freedom would be missed entirely and the Italian vocal character of the passage radically altered. 05:02 7
Mozart's Bassoon Concerto, 10 /en/lessons/bdp221/#chapter-05-19 I have prepared a performance edition for the second movement of the Concerto that puts in print what I perform in the next video. Please understand that this is not a replacement for the Urtext edition contained in the Neue Mozart Ausgabe; rather, it is provided here to clearly present the performance choices that I make with the composition. The music can be found linked with the videos on Mozart Videos 05:19 8
Mozart's Bassoon Concerto, 10 /en/lessons/bdp221/#chapter-05-55 Mozart gives few dynamics in the Second Movement. I like to perform the recapitulation, starting with the orchestra part in measure 27, at the pianissimo dynamic. This provides for a beautifully expressive moment in the work. 05:55 9
Mozart's Bassoon Concerto, 10 /en/lessons/bdp221/#chapter-06-29 There are aspects to my performance of the second movement that depart from today's conventional performances. In Videos 4 and 5 in this series (BDP 215 and 216), I discussed adding ornamentation. In measures 34 through 36, I ornament the repetitions in the sequence. Above here we have the Neue Mozart Ausgabe, the Urtext edition, and below is my performance edition. You can see in this first iteration of this idea that there are no changes. In the second, I make changes on the second beat. In the third, I add a trill. 06:29 10
Mozart's Bassoon Concerto, 10 /en/lessons/bdp221/#chapter-07-36 At the end of the final statement in the movement, I add a florid passage to provide closure. Notice that I also highlight the break between the two D4s in measure 46. These changes are again references to Italian vocal traditions. 07:36 11
Mozart's Bassoon Concerto, 10 /en/lessons/bdp221/#chapter-08-11 The cadenza I perform in this movement is one that I composed as an undergraduate student at the University of Washington. You will find that cadenza in print at cadenzas 08:11 12
Mozart's Bassoon Concerto, 10 /en/lessons/bdp221/#chapter-08-29 There are other choices that I make in my performances that are partly for my convenience and partly to best present the movement. I perform on a modern bassoon. I don't have time to master a bassoon and reed from the Classical period. I am also using vibrato, which is a twentieth-century addition to woodwind performance. I will discuss vibrato in more detail in a later video in this series. 08:29 13
Mozart's Bassoon Concerto, 10 /en/lessons/bdp221/#chapter-09-30 Please now proceed to the next video for a full performance of the second movement. 09:30 14
Mozart's Bassoon Concerto, 10 /en/lessons/bdp221/#chapter-09-39 Music: "Mozart Mashup" with Terry Ewell and Elaine Ross. 09:39 15
Mozart's Bassoon Concerto, 11 /en/lessons/bdp222/ Mozart's Bassoon Concerto, 11 Performance of the Second Movement Complete performance of the second movement of Mozart's Bassoon Concerto, applying the interpretive principles presented in the previous videos of this series. This performance incorporates decisions regarding tempo, tactus, phrasing, ornamentation, and historically informed performance practice in a complete rendition of the movement. Performance of the Second Movement by Terry B. Ewell and Elaine Ross. BDP#222. 0
Mozart's Bassoon Concerto, 12 /en/lessons/bdp223/ Mozart's Bassoon Concerto, 12 Comments on the Third Movement This video provides a discussion of tempo and other performance issues in the third movement. By Terry B. Ewell, Bassoon Digital Professor. Assisted by Vincent Igusa, bassoon and Catherine Renggli, piano. www.2reed.net. 0
Mozart's Bassoon Concerto, 12 /en/lessons/bdp223/#chapter-00-00 Music: "Mozart Mashup" with Terry Ewell and Elaine Ross. Hello, this is Terry Ewell, and you are viewing the twelfth video in the series on the Mozart Bassoon Concerto. 00:00 1
Mozart's Bassoon Concerto, 12 /en/lessons/bdp223/#chapter-00-17 The tempo of the third movement of the Mozart Bassoon Concerto, which is marked Tempo di Menuetto, best fits in the category of Mozart's "moderate minuets." There is an interesting note at the bottom of page 338 of Sandra Rosenblum's Performance Practice in Classic Piano Music: 00:17 2
Mozart's Bassoon Concerto, 12 /en/lessons/bdp223/#chapter-00-43 "An outstanding example of the moderate minuet occurs in the finale of the first act of Mozart's Don Giovanni, for which there exists a metronomization of quarter note equals 96 suggested by Wenzel Tomášek." 00:43 3
Mozart's Bassoon Concerto, 12 /en/lessons/bdp223/#chapter-01-01 This is exactly the tempo that I have chosen for the third movement, which is just slightly faster than the tactus of 92. (The concept of the tactus was presented earlier in the series, so please see Video 9, BDP #220.) It is common for the last movements of concertos to be faster in tempo than the preceding movements. Even so, at the tempo of 96 to the quarter note, this is quite slower than most contemporary performances. Many performers take this movement faster than a tempo of 96, and as a result the gentle dancing quality is missed. 01:01 4
Mozart's Bassoon Concerto, 12 /en/lessons/bdp223/#chapter-02-10 Every time a fermata is given in the Mozart Bassoon Concerto, it calls for added notes, whether with a cadenza or an Einleiten. A simple lead-in, or Einleiten, best fits the fermata in measure 106. Performance, mm. 105–107 02:10 5
Mozart's Bassoon Concerto, 12 /en/lessons/bdp223/#chapter-02-50 The lead-in, however, is not the only instance in the movement where I add notes. All of the changes may seem outlandish to you, and indeed they certainly depart from contemporary performances of the work. However, my changes are carefully considered and have come from decades of study of the work, one that is deeply loved by many of us. If you have not yet viewed the fourth video in this series, BDP #215, please review my reasoning for adding ornamentation to the Concerto. 02:50 6
Mozart's Bassoon Concerto, 12 /en/lessons/bdp223/#chapter-03-50 The most significant changes that I make are with ornaments to repeated music and flourishes at the ends of important sections. First, consider the repeated passage in measures 101–105. At the top, the Neue Mozart Ausgabe, the authoritative edition, is supplied. At the bottom is my ornamented version. The first instance of the figure is without ornaments. However, the second and third repetitions are changed significantly. Performance, mm. 101–107 03:50 7
Mozart's Bassoon Concerto, 12 /en/lessons/bdp223/#chapter-05-00 I provide flourishes before trills at the end of the first and last A sections in this Rondo form. Here is the first example: Performance, mm. 48–52 05:00 8
Mozart's Bassoon Concerto, 12 /en/lessons/bdp223/#chapter-05-22 Here is the second example, which ends the solo part. Performance, mm. 134–138 05:22 9
Mozart's Bassoon Concerto, 12 /en/lessons/bdp223/#chapter-05-39 In my view, the Concerto should be a living piece of music. In a sense it should be reinvented with each performance; it must be breathed to life with each expression of the work. There is not one perfect performance of the work by any single bassoonist. If that were the case, then we should just capture that one performance, whether in audio, video, or virtual media of some sort, and then only refer to that forevermore. 05:39 10
Mozart's Bassoon Concerto, 12 /en/lessons/bdp223/#chapter-06-37 Rather, there should be hundreds of expressions of the Concerto, each one of which leads us to new understandings and insights. Each performance adding to the rainbow of light emerging from the prism of the composition. 06:37 11
Mozart's Bassoon Concerto, 12 /en/lessons/bdp223/#chapter-07-03 I have prepared a performance edition for the third movement of the Concerto that puts in print what I perform in the next video. Please understand that this is not a replacement for the Urtext edition contained in the Neue Mozart Ausgabe, rather, it is provided here to clearly present the performance choices that I make with the composition. The music can be found linked with the videos on Mozart Videos 07:03 12
Mozart's Bassoon Concerto, 12 /en/lessons/bdp223/#chapter-07-46 This performance edition is not the "last word" for my ideas on the Concerto, nor should it be for yours. In fact, if I were to perform the work again, there would be many new ideas to explore. 07:46 13
Mozart's Bassoon Concerto, 12 /en/lessons/bdp223/#chapter-08-20 In the performance edition I have prepared, you will see the words Tutti and Solo. The tutti sections are the portions where the bassoon joins with the other instruments. Here the bassoon is in a supporting role, and for this reason I seek to blend with the other instruments. When the solo part is given, however, then I play out, with greater volume and a soloistic tone. 08:20 14
Mozart's Bassoon Concerto, 12 /en/lessons/bdp223/#chapter-09-00 Please now enjoy listening to the third movement in the next video. 09:00 15
Mozart's Bassoon Concerto, 12 /en/lessons/bdp223/#chapter-09-09 Music: "Mozart Mashup" with Terry Ewell and Elaine Ross. 09:09 16
Mozart's Bassoon Concerto, 13 /en/lessons/bdp224/ Mozart's Bassoon Concerto, 13 Performance of the Third Movement Performance of the Third Movement. By Terry B. Ewell, Bassoon Digital Professor. Assisted by Vincent Igusa, bassoon and Catherine Renggli, piano. www.2reed.net. 0
Mozart's Bassoon Concerto, 14 /en/lessons/bdp225/ Mozart's Bassoon Concerto, 14 Introduction of Vibrato Introduction to Vibrato. By Terry B. Ewell, Bassoon Digital Professor. Overview of performance practices with reference to scholarship produced by Geoffrey Burgess. BDP#225. With Elaine Ross, piano. www.2reed.net. 0
Mozart's Bassoon Concerto, 14 /en/lessons/bdp225/#chapter-00-00 Music: "Mozart Mashup" with Terry Ewell and Elaine Ross. Welcome, this is Terry Ewell. 00:00 1
Mozart's Bassoon Concerto, 14 /en/lessons/bdp225/#chapter-00-21 Did bassoonists in Mozart's day use vibrato? Furthermore, do we know when vibrato was routinely applied to bassoon performance? 00:21 2
Mozart's Bassoon Concerto, 14 /en/lessons/bdp225/#chapter-00-35 In my nearly forty years as a professional bassoonist, rarely have I heard bassoon performed by other professionals without vibrato applied to the tone. With few exceptions, vibrato is employed to perform bassoon music from the Baroque period to our present day. In fact, it sounds rather odd to even hear a bassoon performed without vibrato. 00:35 3
Mozart's Bassoon Concerto, 14 /en/lessons/bdp225/#chapter-01-04 One of the vinyl recordings in my collection is noteworthy because the bassoonist performs the Mozart Bassoon Concerto without vibrato. Example: Mozart Bassoon Concerto, Second Movement Wiener Philharmoniker (Vienna Philharmonic), Karl Böhm, Conductor, Dietmar Zeman, Bassoon 01:04 4
Mozart's Bassoon Concerto, 14 /en/lessons/bdp225/#chapter-01-53 Here we have a recording pressed in 1974 with the Vienna Philharmonic— one of the finest orchestras in the world—featuring Dietmar Zeman, a distinguished bassoonist. Could a bassoonist today perform the Concerto without vibrato and be well received? I think not. How then can we explain the change from 1974, when performing without vibrato was appropriate in Vienna, to our present time when vibrato is almost always associated with a good bassoon tone? 01:53 5
Mozart's Bassoon Concerto, 14 /en/lessons/bdp225/#chapter-02-51 We are fortunate that questions about vibrato are now easier to answer thanks to the scholarship of Geoffrey Burgess. I highly recommend that you read his article, "Vibrato Awareness," which was published in The Double Reed. Burgess, "Vibrato Awareness" Restricted access to IDRS members 02:51 6
Mozart's Bassoon Concerto, 14 /en/lessons/bdp225/#chapter-03-22 Also, you should hear the recordings on the CD collection titled The Oboe: 1903–1953. Geoffrey Burgess, compiler. The Oboe: 1903–1953. Oboe Classics, CC2012 (2005). In the two CDs, Burgess provides oboe recordings in which you can hear the application of vibrato change over time. Let's now have a short summary of the application of vibrato in wind performance. 03:22 7
Mozart's Bassoon Concerto, 14 /en/lessons/bdp225/#chapter-04-04 Writings from the Baroque and Classical periods mention the use of finger vibrato— flattement. Flattement was applied to a long tone by means of moving a finger over an open hole but not fully covering the hole. The ornament was thus closely related to a trill. The finger vibrato was particularly effective for flute or recorder performances, where there are many open tone holes available. 04:04 8
Mozart's Bassoon Concerto, 14 /en/lessons/bdp225/#chapter-04-53 Often this vibrato was tied to messa di voce, which is a long, sustained note given the dynamic shaping of crescendo and diminuendo. During music composed in the Baroque and Classical periods, there is no indication that vibrato was given constantly; rather, it was selectively applied. 04:53 9
Mozart's Bassoon Concerto, 14 /en/lessons/bdp225/#chapter-05-33 Burgess notes in his article that "the fashion for vibrato almost certainly began amongst singers in the late nineteenth century and was later copied by instrumentalists." The addition of vibrato is best documented with violin and flute players. At the start of the twentieth century, there are accounts of the application of constant vibrato, often referred to as chanté ("singing"), by French musicians. 05:33 10
Mozart's Bassoon Concerto, 14 /en/lessons/bdp225/#chapter-06-17 Burgess writes about two prominent French flutists: "According to Taffanel's pupil Marcel Moÿse, vibrato was first used around 1905, but that it was a hotly debated topic." 06:17 11
Mozart's Bassoon Concerto, 14 /en/lessons/bdp225/#chapter-06-43 By the late 1920s, however, many French performers were using vibrato on oboe and flute. Around that time, oboist Léon Goossens performed with a consistent vibrato for English audiences. 06:43 12
Mozart's Bassoon Concerto, 14 /en/lessons/bdp225/#chapter-07-00 The adoption of vibrato in Germanic countries, however, met with resistance even until after World War II. Conservative trends in Vienna may best explain Dietmar Zeman's resistance to vibrato in the performance we heard earlier in this video. Although a performance of bassoon without vibrato is very strange to our twenty-first century ears, Zeman's rendition of the Mozart Bassoon Concerto in this aspect is closer to the practice during Mozart's time than performances of the work with vibrato. 07:00 13
Mozart's Bassoon Concerto, 14 /en/lessons/bdp225/#chapter-07-49 So, you now understand that wind performers have been applying consistent vibrato for only about a century, and vibrato did not become widespread until after World War II. 07:49 14
Mozart's Bassoon Concerto, 14 /en/lessons/bdp225/#chapter-08-13 In the next video, I will discuss how vibrato is produced. Then, in the video following that, we will consider the application of vibrato to Mozart's Bassoon Concerto. 08:13 15
Mozart's Bassoon Concerto, 14 /en/lessons/bdp225/#chapter-08-30 Music: "Mozart Mashup" with Terry Ewell and Elaine Ross. 08:30 16
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/ Mozart's Bassoon Concerto, 15 Vibrato Mechanisms This video presents research on vibrato mechanisms by Profs. Jan Eberle, Christopher Weait, Scott Pool, and others. By Terry B. Ewell, Bassoon Digital Professor. 0
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-00-00 Music: "Mozart Mashup" with Terry Ewell and Elaine Ross. Music Music Welcome. This is Terry Ewell. This is the second of four videos dedicated to vibrato in the Mozart Bassoon Concerto. In the prior video, we reviewed historical materials and concluded that during Mozart's time the application of consistent vibrato was not typical. In this video, I will present an overview of the body components or mechanisms by which vibrato can be produced. 00:00 1
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-00-54 First, I want to recommend publications on vibrato by Prof. Jan Eberle of Michigan State University in the USA. She provided two presentations at International Double Reed Society Conferences in 2005 and 2006 and published an important article on the subject. International Double Reed Society (IDRS) members can view her presentation on video at this link: - 2005 IDRS Conference, The University of Texas at Austin link, IDRS members only Her article is available to IDRS members at this link: - Jan Eberle. "Vibrato: No Longer a Mystery!" The Double Reed 29/3 (2006): 128–130. link, IDRS members only 00:54 2
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-01-34 In the presentations and article Prof. Eberle notes that there are nine ways to produce vibrato on the modern oboe. All of these methods also apply to the bassoon. 1. Hand 2. Jaw 3. Tongue 4. Diaphragm 5. Whistle 6. Sister 7. Laugh 8. Cough 9. Vocal Please notice that flattement or finger vibrato presented in the last video is not listed here. 01:34 3
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-02-19 In this video, I will use figures presented in my monograph Wind Performer's Guide to Increasing Endurance to illustrate Prof. Eberle's types of vibrato. I will retain the same figure numbers as in the publication. Wind Performer's Guide to Increasing Endurance link 02:19 4
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-02-38 Hand vibrato indicates shaking the instrument in order to create vibrato. This is a technique employed by many trumpet performers; however, it is not recommended for double reed players. 02:38 5
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-03-05 Jaw vibrato requires movement of the mandible. Moving the jaw in rapid chewing motions will alter the tone with vibrato. This vibrato is employed by several bassoonists; however, it produces wide variation in the pitch of notes. I do not recommend this vibrato. 03:05 6
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-03-40 Prof. Eberle indicates that tongue vibrato occurs in the region of the tongue near the soft palate. Saying "yo, yo, yo..." rapidly approximates this tongue vibrato. I do not recommend this type of vibrato. The tongue already has enough to do with articulation and tuning by means of vowels. 03:40 7
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-04-19 The next type of vibrato is incorrectly labeled by Prof. Eberle. The diaphragm is a muscle that brings air into the lungs and physically it cannot be employed for vibrato. Instead, this vibrato should be labeled "abdominal" or "thoracic." This vibrato is created with quick pulsings of the abdominal and intercostal muscles, which force air out of the lungs. Many wind players are told that this is the only and correct means by which to produce vibrato. The problem with this type of vibrato is that it is quite slow. 04:19 8
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-05-21 Before we move on, let's examine the five components that are employed for tone production or articulation. We have the lungs and associated muscles, the throat area, the back of the tongue near the soft palate, the front of the tongue, and the jaw. With the exception of the front of the tongue, Eberle indicates that all of these may be employed for vibrato. 05:21 9
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-06-23 She and I agree, however, that it is best to use mechanisms for vibrato that are independent of the other demands of performance. The lungs and associated muscles need to be employed for dynamics, the back of the tongue for tuning or double tonguing, and the jaw and embouchure for tuning and dynamics. This leaves us with the throat area as a source for vibrato that is independent of all of the other demands of the instrument. 06:23 10
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-07-33 Prof. Eberle recommends using only the last five items on her list as an appropriate means of producing vibrato. Note that all of these vibratos are presented in the region of the throat. Eberle's insight into vibrato is that there are varied ways to use mechanisms in the region of the throat to create vibrato. This point of view has been confirmed by videofluorographic studies. 07:33 11
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-08-20 My book chapter "Survey of Cinefluorographic and Videofluorographic Research on Double Reed Performers" provides an overview of "X-ray motion pictures" taken of performers while playing double reed instruments. One of the most interesting conclusions from the studies was that professional double reed performers do not make use of the same mechanisms to produce vibrato. Reference Terry B. Ewell, "Survey of Cinefluorographic and Videofluorographic Research on Double Reed Performers." In Celebrating Double Reeds: A Festschrift for William Waterhouse and Philip Bate (Baltimore: International Double Reed Society, 2009), pp. 143–157. 08:20 12
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-09-03 The muscles and structures in the region of the throat are complex and varied. Vibrato is produced by one or more of the muscles. Sometimes multiple muscles produce the vibrato in tandem. 09:03 13
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-09-30 The "Whistle" vibrato is made with muscles under the chin. 09:30 14
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-09-42 The "Sister" vibrato is made in the upper throat in the lower tongue region. The sound "sis" is repeated. 09:42 15
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-10-01 The "Laugh" vibrato can be simulated with "ha, ha, ha" sounds. It is located further down the throat. 10:01 16
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-10-20 The "Cough" vibrato is simulated with coughing sounds. It is located yet lower in the throat. 10:20 17
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-10-40 The "Vocal" vibrato is produced in a manner used by most singers. Prof. Eberle notes that this is the most common vibrato. This vibrato is created by fluctuations in the vocal folds. 10:40 18
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-11-15 Many double reed performers are surprised to learn that most performers produce vibrato in the throat region, most often with the vocal folds. However, research by Christopher Weait, Scott Pool, and their colleagues has demonstrated that this is the case. I encourage you to further study their fine research. References - Christopher Weait and J. Shea, "Vibrato: An Audio-Video-Fluorographic Investigation of a Bassoonist," Applied Radiology (January/February 1977). - Christopher Scott Pool, Observations of the Larynx during Vibrato Production among Professional Bassoonists as Indicated in Experiments Utilizing Fiberoptic Laryngoscopy. D.M.A. dissertation, The University of Arizona, 2004. ISBN 0-496-90694-1. - Christopher Scott Pool, Bassoon Vibrato Production. Lambert Academic Publishing, 2010. 11:15 19
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-11-58 Also, here are additional references that you might find useful. Additional References - Brown, Andrew F. David. A Comprehensive Performance Project in Oboe Literature with a Cinefluorographic Pilot Study of the Throat While Vibrato Tones Are Played on Flute and Oboe. D.M.A., The University of Iowa, 1973. - Carr, Walter Edward, Jr. A Videofluorographic Investigation of Tongue and Throat Positions in Playing Flute, Oboe, Clarinet, Bassoon and Saxophone. D.M.A., University of Southern California, 1978. - Gossett, Claude W., Jr. A Spectrographic and Electromyographic Investigation of the Relationship of the Effects of Selected Parameters Upon Concurrent Study of Voice and Oboe. Ph.D., University of Southern Mississippi, 1977. - Kahane, J. C.; Beckford, N. S.; Chorna, L. B.; Teachey, J. C.; and McClelland, D. K. "Videofluoroscopic and Laryngoscopic Evaluation of the Upper Airway and Larynx of Professional Bassoon Players." Journal of Voice 20/2 (2006): 297–307. PubMed Abstract ### 12:06 Summary 11:58 20
Mozart's Bassoon Concerto, 15 /en/lessons/bdp226/#chapter-12-06 In summary, the muscles and structures in the throat are the best region for the production of vibrato. This is confirmed by Profs. Eberle, Weait, Pool, and others. The way in which the vibrato is produced in the throat, however, may differ from player to player. In the next video, we will discuss how to practice vibrato. Music: "Mozart Mashup" with Terry Ewell and Elaine Ross. 12:06 21
Mozart's Bassoon Concerto, 16 /en/lessons/bdp227/ Mozart's Bassoon Concerto, 16 Practicing and Developing Vibrato This video presents ways to practice and develope vibrato. By Terry B. Ewell, Bassoon Digital Professor. 0
Mozart's Bassoon Concerto, 16 /en/lessons/bdp227/#chapter-00-00 Music: "Mozart Mashup" with Terry Ewell and Elaine Ross. Welcome, this is Terry Ewell. In the last two videos on vibrato, I provided an overview of the history of vibrato and then what mechanisms—or which parts of the body—are best employed to produce vibrato. 00:00 1
Mozart's Bassoon Concerto, 16 /en/lessons/bdp227/#chapter-00-25 In this video I will be presenting ways to practice vibrato. Prof. Jan Eberle, in her article and presentations, first helps students identify which vibrato mechanism or mechanisms work best for each individual. Jan Eberle, "Vibrato: No Longer a Mystery!" The Double Reed 29/3 (2006): 128–130 00:25 2
Mozart's Bassoon Concerto, 16 /en/lessons/bdp227/#chapter-00-50 Let's review the five throat area vibratos advocated by Prof. Eberle and identify the one or two that work best for you. 00:50 3
Mozart's Bassoon Concerto, 16 /en/lessons/bdp227/#chapter-01-49 The "Whistle" vibrato is made with muscles under the chin. It is made in the upper throat in the lower tongue region. 01:49 4
Mozart's Bassoon Concerto, 16 /en/lessons/bdp227/#chapter-02-16 The "Sister" vibrato is made in the upper throat in the lower tongue region. Varying the "sis" sound produces this vibrato. Feel for movement at the "tonsil area." 02:16 5
Mozart's Bassoon Concerto, 16 /en/lessons/bdp227/#chapter-02-52 The "Laugh" vibrato can be simulated with "ha, ha, ha" sounds. It is located further down in the throat. 02:52 6
Mozart's Bassoon Concerto, 16 /en/lessons/bdp227/#chapter-03-17 The "Cough" vibrato is produced with coughing sounds. It is located yet lower in the throat. 03:17 7
Mozart's Bassoon Concerto, 16 /en/lessons/bdp227/#chapter-03-48 The "Vocal" vibrato is produced in a manner used by most singers. Prof. Eberle notes that this is the most common vibrato. This vibrato is created by fluctuations in the vocal folds. 03:48 8
Mozart's Bassoon Concerto, 16 /en/lessons/bdp227/#chapter-04-29 Pick one of these types of vibrato to practice for one week without the instrument. Learn to identify the muscles and sensations associated with that vibrato. 04:29 9
Mozart's Bassoon Concerto, 16 /en/lessons/bdp227/#chapter-04-57 In the second week, I suggest you practice this vibrato on the bassoon, but first on a note that blows freely, one without a lot of air pressure. 04:57 10
Mozart's Bassoon Concerto, 16 /en/lessons/bdp227/#chapter-05-48 Once you are comfortable on G3, expand your range by moving up and down the instrument scale. 05:48 11
Mozart's Bassoon Concerto, 16 /en/lessons/bdp227/#chapter-06-24 The upper notes on the bassoon are more resistant, and you may feel more air pressure and perhaps greater difficulty producing the vibrato. 06:24 12
Mozart's Bassoon Concerto, 16 /en/lessons/bdp227/#chapter-06-40 Developing a flexible vibrato will be your next step in your vibrato practice. Try varying the speed of the vibrato. 06:40 13
Mozart's Bassoon Concerto, 16 /en/lessons/bdp227/#chapter-07-46 Prof. Eberle does not recommend practicing vibrato pulses with a metronome. However, I have found this helpful for me and my students. Set the metronome to a tempo of 60. Then provide vibrato pulses to the beat, first 1, then 2, 3, 4, etc. Here is a vibrato drive to practice. You will notice that it starts with fewer pulses per beat, increases pulses per beat, and then ends with fewer pulses per beat. - 1-1, 2-2, 3-3, 4-4, 3-3, 2-2, 1-1 07:46 14
Mozart's Bassoon Concerto, 16 /en/lessons/bdp227/#chapter-08-28 When you have mastered going up to four pulses a beat, try five and perhaps even six. Six is the fastest vibrato that I can produce. 08:28 15
Mozart's Bassoon Concerto, 16 /en/lessons/bdp227/#chapter-09-09 You might find that you feel the slower pulses more in your abdomen than in the throat area. When I practice this exercise, I feel the faster pulses rise up the air column to my throat area. There is the sensation of an upward progression as the pulses increase in speed. I suspect, however, that I am using the same mechanisms for all of the pulses. However, the slower pulses are felt more in my abdomen. This might be analogous to the slow pulses that a shoe causes on a hose. The pressure can be sensed closer to the source of water pressure. 09:09 16
Mozart's Bassoon Concerto, 16 /en/lessons/bdp227/#chapter-10-06 First practice the vibrato drive without any change in dynamics. Then practice it with dynamics. The easiest vibrato drive coincides with the dynamics, increasing the volume as the number of pulses increases. However, complete mastery of vibrato should include using vibrato and dynamics in opposition. Here the vibrato decreases in the frequency of pulses while the dynamics increase in volume. 10:06 17
Mozart's Bassoon Concerto, 16 /en/lessons/bdp227/#chapter-11-08 For additional information on the vibrato drives, please see these items: - "A Bassoonist's Expansions upon Marcel Tabuteau's 'Drive,'" Journal of the International Double Reed Society 20 (July 1992): 27–30. Tabuteau Drives - Music in Motion (BDP #100) Video 11:08 18
Mozart's Bassoon Concerto, 16 /en/lessons/bdp227/#chapter-12-11 Well, I hope that this video has been helpful to either get you started on vibrato or to further refine your understanding of how to practice it. In the next video, we will examine the Mozart Bassoon Concerto and discuss how vibrato might be applied to it. Music: "Mozart Mashup" with Terry Ewell and Elaine Ross. 12:11 19
Mozart's Bassoon Concerto, Part 17 /en/lessons/bdp228/ Mozart's Bassoon Concerto, Part 17 Applying Vibrato This video discusses applying vibrato to the Mozart Bassoon Concerto and other music. It examines varying vibrato to change musical character. By Terry B. Ewell, Bassoon Digital Professor. With Elaine Ross and Catherine Renggli, piano. www.2reed.net. 0
Mozart's Bassoon Concerto, Part 17 /en/lessons/bdp228/#chapter-00-00 Music: "Mozart Mashup" with Terry Ewell and Elaine Ross. Music Music Welcome, this is Terry Ewell. Well, this will be the last video centered on vibrato in the Mozart Bassoon Concerto. In this video, I will present the application of vibrato, that is, when and why it should be used. Please view the three prior videos in the series for the background material needed for this video. 00:00 1
Mozart's Bassoon Concerto, Part 17 /en/lessons/bdp228/#chapter-01-03 The sound of the bassoon easily blends with other instruments. When performed with cellos, the bassoon mixes well with their sounds. For example, see how Mozart, in his Symphony No. 35, doubles the bassoons with the cellos and basses. The bassoon here is not treated as a woodwind instrument, rather as a reinforcement of the strings. This melding of tones is best done without vibrato. 01:03 2
Mozart's Bassoon Concerto, Part 17 /en/lessons/bdp228/#chapter-02-10 Likewise, the bassoon can blend with brass instruments and provide added sound in the bass registers. Here is an example from Wagner's Tannhäuser Overture. 02:10 3
Mozart's Bassoon Concerto, Part 17 /en/lessons/bdp228/#chapter-02-37 Similarly, there are times in the Mozart Bassoon Concerto where I employ little or no vibrato. In the tutti sections the bassoon is not the focus; rather, the bassoon should blend with the cellos and basses. 02:37 4
Mozart's Bassoon Concerto, Part 17 /en/lessons/bdp228/#chapter-03-16 One thing, however, that helps the bassoon to distinguish itself from other instruments is to add vibrato. For solo portions of the concerto, this is a particularly useful way to bring out the bassoon part over the rest of the orchestra. 03:16 5
Mozart's Bassoon Concerto, Part 17 /en/lessons/bdp228/#chapter-04-03 There are basically two ways in which vibrato is applied for bassoon performance today. First, it is an expression of tone color. A consistent vibrato thus becomes a component of the sound of a bassoon. Today, we expect a bassoon to be performed with vibrato much as we expect vocalists to sing with vibrato. Second, vibrato is a means of expression. This is an aspect of vibrato that is often missed in performances. Changing the speed or amplitude of vibrato can be a very important expressive device. 04:03 6
Mozart's Bassoon Concerto, Part 17 /en/lessons/bdp228/#chapter-05-44 In the last video, I presented vibrato drives as a means of practicing flexibility and control over the vibrato mechanism. Once mastered, vibrato drives can be applied to musical phrases as a means of expression. I find that varying the speed of the vibrato is a great way to express different emotions. 05:44 7
Mozart's Bassoon Concerto, Part 17 /en/lessons/bdp228/#chapter-06-50 In the third movement, in the minor section, I use a faster vibrato with a quieter dynamic to indicate agitation. Music: Mozart, Third Movement, Terry Ewell and Elaine Ross. 06:50 8
Mozart's Bassoon Concerto, Part 17 /en/lessons/bdp228/#chapter-07-21 Practice projecting different moods. For instance, a strong, vibrant vibrato that is not too fast can indicate heroism or self-confidence. This is quite appropriate for the solo opening in the first movement. Music: Mozart, First Movement, Vincent Igusa and Catherine Renggli. 07:21 9
Mozart's Bassoon Concerto, Part 17 /en/lessons/bdp228/#chapter-08-16 Romantic feelings can be expressed through a vibrato full of nuance, always slightly changing, never regimented. This is appropriate for the opening of the solo in the second movement. Music: Mozart, Second Movement, Terry Ewell and Elaine Ross. 08:16 10
Mozart's Bassoon Concerto, Part 17 /en/lessons/bdp228/#chapter-09-06 A more jovial, less driving vibrato is appropriate for the start of the solo in the third movement. Music: Mozart, Third Movement, Terry Ewell and Elaine Ross. 09:06 11
Mozart's Bassoon Concerto, Part 17 /en/lessons/bdp228/#chapter-09-41 It is important for performers to seek a broad range of emotions. Vibrato is an important aspect of that expression. 09:41 12
Mozart's Bassoon Concerto, Part 17 /en/lessons/bdp228/#chapter-10-12 I have discussed the application of vibrato in some of my prior videos, which you might also find helpful to view. I discuss when to use vibrato in the Nielsen Quintet, BDP #82. In the video "Music in Motion," BDP #100, I demonstrate how vibrato drives can shape the music toward musical goals. Last of all, my videos on Weissenborn Study #35 may be useful as well (BDP #143a and BDP #143b). 10:12 13
Mozart's Bassoon Concerto, Part 17 /en/lessons/bdp228/#chapter-11-34 Music: "Mozart Mashup" with Terry Ewell and Elaine Ross. 11:34 14
Mozart's Bassoon Concerto, 18 /en/lessons/bdp229/ Mozart's Bassoon Concerto, 18 Musical Style Contrasting the style of Mozart’s Concerto with concertos by Vivaldi, Weber, and Jacob. Understand different musical styles and performing them appropriately. BDP 229. By Terry B. Ewell, Bassoon Digital Professor. 0
Mozart's Bassoon Concerto, 18 /en/lessons/bdp229/#chapter-00-01 Music: "Mozart Mashup" with Terry Ewell and Elaine Ross. Welcome, this is Terry Ewell. Is there such a thing as a musical style to Mozart's compositions? Does the Mozart Bassoon Concerto need to be performed differently than the concertos by Vivaldi, Weber, or Jacob? Should the bassoon project a different tone and character to the music? I think the answer to all of those questions is a hearty, "yes!" So, how then do we define the characteristics of Mozart's music? 00:01 1
Mozart's Bassoon Concerto, 18 /en/lessons/bdp229/#chapter-01-00 Although Mozart was a Germanic composer, his musical style was greatly influenced by Italian vocal traditions and in particular by what is termed bel canto style of singing. There is a fine definition of bel canto given in the Harvard Dictionary of Music: Bel canto is "...the Italian vocal technique of the 18th century, with its emphasis on beauty of sound and brilliancy of performance rather than dramatic expression or romantic emotion... it must be considered as a highly artistic technique and the only proper one for Italian opera and for Mozart." 01:00 2
Mozart's Bassoon Concerto, 18 /en/lessons/bdp229/#chapter-01-54 Perhaps you can better understand the Mozartian style of performance by contrasting the Bassoon Concerto with other concertos for bassoon. The Concerto by Mozart is quite different in style from Vivaldi's bassoon concertos, for instance. The Vivaldi concertos are less vocal, much more influenced by string techniques. For instance, consider this passage from the opening of Vivaldi's E minor Concerto, RV 484. Music: Vivaldi, E minor Concerto, RV 484, opening, mm. 14–15. IMSLP score In addition, there are often more "schizophrenic" moments in Vivaldi's music as seen in the proximity of widely contrasting musical materials. Consider this example where in a few measures the bassoon solo presents lyrical and virtuosic music, and then recapitulates the opening string riffs. Music: Vivaldi, E minor Concerto, RV 484, mm. 22–25. This is not at all similar to Mozart's Bassoon Concerto, where musical contrasts are much less abrupt. 01:54 3
Mozart's Bassoon Concerto, 18 /en/lessons/bdp229/#chapter-03-29 The style of the Mozart Concerto also differs from the Weber Concerto and his Andante and Hungarian Rondo. The Weber compositions are much more dramatic and even brash at times. This passage from the Andante and Hungarian Rondo illustrates the dramatic mood swings never seen in Mozart's work. Notice the tension created in the serious ending of the first movement. Then suddenly the bassoon enters in a jovial and even joking mood with the theme of the Rondo. Music: 1984 Performance with the Seattle Youth Symphony Orchestra. Terry B. Ewell, bassoon; Vilem Sokol, conductor. These forceful changes in mood are not contained in the Mozart Bassoon Concerto. 03:29 4
Mozart's Bassoon Concerto, 18 /en/lessons/bdp229/#chapter-05-07 In addition, the style of the Gordon Jacob Concerto greatly contrasts with the Mozart Concerto. The first and third movements feature great rhythmic energy and require boisterous playing by the bassoon performer. The second movement, with the high register solos, possesses an eerie, other-worldly quality. This contrasts with the Mozart Concerto that is always warm and of this world. Each of these concertos; those by Mozart, Vivaldi, Weber, and Jacob; should be played in a manner most appropriate to their style and historical context. 05:07 5
Mozart's Bassoon Concerto, 18 /en/lessons/bdp229/#chapter-05-56 So, in summary, the style of the Mozart Concerto should be beautiful, cultured, and always with affection. Above all seek to perform it in a vocal style. However, this vocal style features less vibrato variety than I would perform in the Weber and Jacob concertos. 05:56 6
Mozart's Bassoon Concerto, 18 /en/lessons/bdp229/#chapter-06-12 In addition to these important considerations of style, the performer must be aware of the most prominent type of musical gesture in Mozart's music. Furthermore, this is the most frequently employed ornament throughout the Common Practice Period. This ornament is called the appoggiatura. In one of the most important treatises on performance practice in the eighteenth century, Quantz addresses the appoggiatura first, indicating its prominent position among all of the ornaments. Spending some time recognizing appoggiaturas will help you not only to perform music by Mozart, but also compositions throughout the eighteenth and nineteenth centuries and even some in the twentieth century. In order to understand how to phrase this music you must recognize appoggiaturas. Appoggiatura comes from the Italian verb appoggiare, which is translated into English as "to lean upon." These are metrically stressed notes, usually occurring on downbeats. These notes are dissonant and resolve downwards. 06:12 7
Mozart's Bassoon Concerto, 18 /en/lessons/bdp229/#chapter-07-41 The opening solo in the first movement features several appoggiaturas. Here I have indicated them with red "A"s above the notes. The most important stresses or "leanings" occur on the downbeats of measures 38 and 41. These moments are the climaxes of the phrases and they should be the result of musical shaping leading up to them. Music: Mozart Bassoon Concerto, Opening to the First Movement Solo 07:41 8
Mozart's Bassoon Concerto, 18 /en/lessons/bdp229/#chapter-08-13 Likewise, appoggiaturas are featured often in the second movement. Each of them should be slightly stressed. Music: Mozart Bassoon Concerto, Opening to the Second Movement Solo 08:13 9
Mozart's Bassoon Concerto, 18 /en/lessons/bdp229/#chapter-08-35 In the third movement, one of the most significant appoggiaturas participates in a cadential 6/4 chord in measure 50. This appoggiatura signals the end of a section in this Rondo movement. Music: Mozart Bassoon Concerto, Third Movement, Appoggiatura in Measure 50 08:35 10
Mozart's Bassoon Concerto, 18 /en/lessons/bdp229/#chapter-09-01 Learn to recognize appoggiaturas by ear and by sight. Once you master the quick identification of this ornament, then you can move the phrase toward this important musical gesture, which is often the climax of the phrase. Appoggiaturas are essential to the style of Mozart's music, and to perform the music well you must understand where they are and how to express them. Music: "Mozart Mashup" with Terry Ewell and Elaine Ross. 09:01 11
Mozart's Bassoon Concerto, 19 /en/lessons/bdp230/ Mozart's Bassoon Concerto, 19 Concluding Remarks Practicing musicality and some technically difficult passages in the Concerto. By Terry B. Ewell, Bassoon Digital Professor. 0
Mozart's Bassoon Concerto, 19 /en/lessons/bdp230/#chapter-00-00 Music: "Mozart Mashup" with Terry Ewell and Elaine Ross. Welcome, this is Terry Ewell. The manner and method with which you practice can be even more important than the amount of time you spend on the activity. For instance, in the last video, I presented the most important gesture in Mozart's Bassoon Concerto: the appoggiatura. The approach to the appoggiatura, the "lean in" of the appoggiatura ornament, and the departure from, or even resolution of the phrase all need to be practiced. The best way to perform musically is to practice playing musically at every moment. Don't view technique and musicality as separate components; rather seek to integrate them at all times. 00:00 1
Mozart's Bassoon Concerto, 19 /en/lessons/bdp230/#chapter-01-17 Start by practicing just a few notes in each musical gesture. Here the example is from the retardation in the Third Movement. Music: two notes Then add a few notes before the gesture, making sure that these added notes are appropriate to the phrasing. Music: four notes Then add a few more notes. Music: seven notes 01:17 2
Mozart's Bassoon Concerto, 19 /en/lessons/bdp230/#chapter-02-02 However, this single phrase is not complete until the entrance after it is practiced as well. Often the ears are turned off during a breath and little attention is given to the accurate timing of the next entrance. Practice this with a metronome ensuring that the first F3, open F, occurs correctly on the beat. Then further attention is needed to make sure that the triplets are properly placed in the beat without a tempo change. Music: Mozart Third Movement, measures 43–44, phrase and start of next phrase Paying close attention to details such as these throughout the Concerto will greatly aid the final performance. Careful practice right from the start will avoid mistakes that need to be corrected later. 02:02 3
Mozart's Bassoon Concerto, 19 /en/lessons/bdp230/#chapter-03-05 Now, let's turn our attention to a few difficult passages in the First Movement. One of the most difficult passages in the movement is best practiced with an understanding of the phrasing, the musical gestures. The Urtext edition contains no slurs, so I recommend adding the slurs given in red and continuing the pattern of two slurs and two tongued notes up to and including measure 54. 03:05 4
Mozart's Bassoon Concerto, 19 /en/lessons/bdp230/#chapter-03-45 This next figure shows the phrasing, the musical gestures. I suggest practicing slowly first with quarter-note values on the notes given in red. Music: Mozart First Movement, measures 50–55, Quarter-Note Reduction Notice that the notes in red are all the main notes of the phrases. The rest of the notes, the repeated B-flat threes, are accompaniment. 03:45 5
Mozart's Bassoon Concerto, 19 /en/lessons/bdp230/#chapter-04-24 Then practice the phrasing with just the slurred notes as given in this figure. Music: Mozart First Movement, measures 50–55, Slurred Notes Reduction 04:24 6
Mozart's Bassoon Concerto, 19 /en/lessons/bdp230/#chapter-04-46 When you practice the passage as written, emphasize only the sixteenth notes on the beat. The B-flat three sixteenths that do not occur on beats must be played more lightly than the main notes. One way to do that is to lengthen the sixteenth notes on the beat slightly. This provides more stress on the notes. Music: Mozart First Movement, measures 50–55, No Trills 04:46 7
Mozart's Bassoon Concerto, 19 /en/lessons/bdp230/#chapter-05-35 Notice that the trills are not stressed. This is often a mistake made by performers. Just because a note has a trill does not mean it should be more prominent than the musical phrasing requires. Make the trills part of the phrasing. Music: Mozart First Movement, measures 50–55, As Written 05:35 8
Mozart's Bassoon Concerto, 19 /en/lessons/bdp230/#chapter-06-18 I do not add nachschlagen, or terminations, to the trills in this passage except as printed in the music. Please see Video 5, BDP 216, for a discussion of the trills in the First Movement. 06:18 9
Mozart's Bassoon Concerto, 19 /en/lessons/bdp230/#chapter-06-36 The A-flat–B-flat trill in measure 145 is a problem. I have A-flat–B-flat trill mechanisms on both my Heckel bassoons, but I really don't like either. Usually I just play the full fingering with two alternations. Here, however, is a possible fingering for the trill that may work for you. Also, you can just do one shake: A-flat, B-flat, A-flat. 06:36 10
Mozart's Bassoon Concerto, 19 /en/lessons/bdp230/#chapter-07-27 Part of your practice time should be with the accompaniment. I realize that it is expensive to rehearse with a pianist, and no one that I know of has an orchestra available for all of their practice sessions. To help you out, I have prepared several MIDI and MP3 files of this concerto for your practice. The links are given at: https://www.2reed.net/bdp/home.html#Mozart Make use of the files frequently so that you know the accompaniment and how your part fits with it. 07:27 11
Mozart's Bassoon Concerto, 19 /en/lessons/bdp230/#chapter-08-25 Well, this concludes our nineteen videos on the Mozart Bassoon Concerto. I hope that the videos have aided your understanding of the Concerto and provided you with ways in which you can improve your performance of this important work. Thank you for viewing the videos. God bless you! Music: "Mozart Mashup" with Terry Ewell and Elaine Ross. 08:25 12
First Bassoon Lesson, Part 1 /en/lessons/bdp25/ First Bassoon Lesson, Part 1 Part 1 of a first bassoon lesson with Terry B. Ewell. Embouchure and assembling the bassoon. Bassoon Digital Professor video #25. www.2reed.net Part 1 of a first bassoon lesson with Terry B. Ewell. Embouchure and assembling the bassoon. Bassoon Digital Professor video #25. www.2reed.net 0
First Bassoon Lesson, Part 1 /en/lessons/bdp25/#section-0-13-01 Music: Vivaldi's E minor Concerto, First Movement 1
First Bassoon Lesson, Part 1 /en/lessons/bdp25/#section-0-17-02 Welcome, this is the first in a series of videos dedicated to starting bassoonists and also to the teachers who teach young bassoonists and even beginning adult bassoonists. 2
First Bassoon Lesson, Part 1 /en/lessons/bdp25/#section-0-29-03 I hope that you will find it helpful. In this particular lesson we will be discussing the care and maintenance of the bassoon reed and the bassoon, playing position, embouchure position, and just a few basic fingerings. So, let's get started. 3
First Bassoon Lesson, Part 1 /en/lessons/bdp25/#section-0-46-04 First off, with the bassoon reed I suggest that you soak it in tepid or luke-warm water. Generally I find thirty seconds to a minute is fine for me, if it is a reed that I am playing off and on everyday. If it is a reed that has not been played in quite a while it may need as much as 5 minutes. 4
First Bassoon Lesson, Part 1 /en/lessons/bdp25/#section-1-08-05 But once soaked the reed is ready to play. The bassoon embouchure is a very flexible embouchure. Unlike the single reed instruments where the embouchure is fixed to the reed, the bassoon reed will move in and out of mouth and the embouchure, especially the jaw, will be moving throughout the ranges of the instrument and in fact our dynamics are changed by the position of the jaw and the embouchure. 5
First Bassoon Lesson, Part 1 /en/lessons/bdp25/#section-1-41-06 So it is important to realize that we use a very flexible embouchure on the bassoon. One way in which to think about the position of the embouchure is to experiment with a low whistle. The jaw is dropped. The embouchure is forming around the reed and with that low whistle embouchure you take your finger and roll your lips in a little bit. You've got a close approximation to a bassoon embouchure. 6
First Bassoon Lesson, Part 1 /en/lessons/bdp25/#section-2-17-07 You can tell the proper bassoon embouchure particularly for the lower register of the instrument by the way the reed plays or "crows." You put the bassoon reed in your mouth, again with that embouchure. 7
First Bassoon Lesson, Part 1 /en/lessons/bdp25/#section-2-34-08 Right now I am just getting a single higher pitch. If drop my jaw, loosen the embouchure just a little bit I get the octave below it. You can hear how it is dropping in pitch. Then if I loosen it even more you get what we call a "crow" on a bassoon reed. 8
First Bassoon Lesson, Part 1 /en/lessons/bdp25/#section-3-00-09 The crow is [produced] with the very loosest embouchure. That is a type of embouchure that would be particularly used in the low register. As you get higher and higher on the bassoon your embouchure tends to tighten in order to get the higher notes. But for now for the beginner it is good to have that looser embouchure. Play with a forte tone, a loud sound. You use that as a reference then for the other embouchures. OK, so we are ready now that you understand about the embouchure and things. 9
First Bassoon Lesson, Part 1 /en/lessons/bdp25/#section-3-30-10 Oh, I have to talk to you a little bit about tonguing. We start each note on the bassoon with the tongue on the reed, releasing the tongue. If this is the reed and this is your the tongue, the air starts, the tongue is on the reed, you release it and the reed vibrates. For now we can stop [the reed] with the tongue. We'll talk about articulation later on in some of our other lessons. So give that a try. Start and stop with the tongue. I am going to get a little be closer. I hope I don't "gross you out" with this. I am going to show you the position I use with the tongue on the bassoon reed. 10
First Bassoon Lesson, Part 1 /en/lessons/bdp25/#section-4-19-11 So if this is the bassoon reed and this is the tongue I find that bassoon reeds hits just a little bit back from the tip of the tongue on the top of the tongue. And then I release and go back and forth like that. All right, now we are ready to put together the bassoon. I know that you are excited to put the bassoon together for the first time. 11
First Bassoon Lesson, Part 1 /en/lessons/bdp25/#section-4-43-12 Well, here we have the bassoon case which we have just opened and our bassoon here. I am going to instruct you now on the proper steps to put together the bassoon. First you pick up the boot joint. You want to pick it up in such a way that you are not crushing the keys or the key work. 12
First Bassoon Lesson, Part 1 /en/lessons/bdp25/#section-5-05-13 So holding it from the sides is probably best. I position it with the pancake (or the E key) here facing me. Next I pick up the the tenor joint. The tenor joint fits right into the boot joint. The tenor joint will have a space such as this so that is right around the rim. Now many bassoons (and in fact this is one of them) may come from the factory with a line (I think you can see that on the video) inscribed. (Let me get the reflection right; there you go. There you can see it.) You need to line those two [lines] up right like that. And we are then set. That is in the proper place. 13
First Bassoon Lesson, Part 1 /en/lessons/bdp25/#section-6-07-14 Next we put in the long joint. The long joint fits in like this. Push it down. Now most bassoons at the top will have a locking mechanism and this one has the lockin mechanism that fits right in and closes over like that. 14
First Bassoon Lesson, Part 1 /en/lessons/bdp25/#section-6-34-15 And last of all we put on the bell of the bassoon. To put on the bell of the bassoon you need to hold down this pad so the key is up and you slip it on. 15
First Bassoon Lesson, Part 1 /en/lessons/bdp25/#section-6-49-16 None of the joints should be overly tight. The bassoon should not fall apart when you pick it up like this. You don't want to damage anything by forcing it together. 16
First Bassoon Lesson, Part 1 /en/lessons/bdp25/#section-7-01-17 Now let's a discuss a little bit here some other aspects of the bassoon case. Here we have our two bassoon bocals. It has these twists that you twist in order to get the bocal out. 17
First Bassoon Lesson, Part 1 /en/lessons/bdp25/#section-7-17-18 In this particular case here's our seat strap which we will be showing later. This case has it's reeds in here, a reed case. You need to find a good place for the reeds. Now many reeds you purchase will come in a small little tube like but this does not allow for enough air circulation for the reed to dry out and it might mold. In fact this case as it is probably needs some holes drilled in it just allow for a little more ventilation. 18
First Bassoon Lesson, Part 1 /en/lessons/bdp25/#section-7-55-19 Music: Vivaldi's "La Notte" 19
First Bassoon Lesson, Part 2 /en/lessons/bdp26/ First Bassoon Lesson, Part 2 First Bassoon lesson part 2. Part 2 of a first bassoon lesson with Terry B. Ewell. Seating Posture and first fingerings. Bassoon Digital Professor video #26. www.2reed.net First Bassoon lesson part 2. Part 2 of a first bassoon lesson with Terry B. Ewell. Seating Posture and first fingerings. Bassoon Digital Professor video #26. www.2reed.net 0
First Bassoon Lesson, Part 2 /en/lessons/bdp26/#section-0-00-01 Music: Vivaldi's Concerto in E minor for bassoon and strings 1
First Bassoon Lesson, Part 2 /en/lessons/bdp26/#section-0-17-02 OK, we have our bassoon put together. Now we need to talk about the playing position, and in particular how to support the bassoon. 2
First Bassoon Lesson, Part 2 /en/lessons/bdp26/#section-0-23-03 Most American bassoonists use a seat strap, which usually is made out of leather. Some seat straps have a hook, others have a ring, which fits around the boot joint cap of the bassoon. When you put on the seat strap, the hook goes in the hole nearest you. 3
First Bassoon Lesson, Part 2 /en/lessons/bdp26/#section-0-58-04 The bassoon is going to be like this in your lap. You need to have it in this hole, not in the one on the opposite side: that would create a problem. So go ahead and put this on the bassoon. Then the seat strap needs to slide under you. 4
First Bassoon Lesson, Part 2 /en/lessons/bdp26/#section-1-16-05 Notice we haven't put on the bocal yet. We will be doing that a little bit later. I don't want you to poke out your eye. We are first going to look at the bassoon and how to finger it. The bassoon is off to my right hand side, just off my right hip here. 5
First Bassoon Lesson, Part 2 /en/lessons/bdp26/#section-1-35-06 See that I am seated on the leather seat strap. The left hand goes over the wing joint (tenor joint) and the long joint. On most bassoons there are three holes here. (I will come up to the camera shortly.) You cover these three holes with your fingers. Then on the back side there are keys for the thumb. I will come up to the camera so that you can have a look at that again. So there's the left hand. It covers hole number one. This is the hole that is open to play F [fa] and we close it to play E [mi]. 6
First Bassoon Lesson, Part 2 /en/lessons/bdp26/#section-2-19-07 This is for playing D [re]. And then C [do] is often a hole but on this particular instrument we have this extension key which is very nice for smaller hands. Then in the back here the one key we are learning about today that is called the "whisper key." Here is the key right here. It activates this mechanism that will be closing a little hole on the bocal. 7
First Bassoon Lesson, Part 2 /en/lessons/bdp26/#section-3-03-08 The right hand is situated down here. For our first lesson we are not worrying about the right hand. We are working with the left hand. For people with a large right hand they might want to have a crutch [hand rest]. This is a device that fits into a post. But for now we are not worrying about the right hand. 8
First Bassoon Lesson, Part 2 /en/lessons/bdp26/#section-3-22-09 So in terms of seating with the bassoon, the bassoon itself has weight that pulls you forward. So I think that in order to counterbalance the bassoon [you should] actually lean back, with your back situated on the chair. This is a good idea. I encourage my students to sit all the way back. Be in a comfortable position. Perhaps just lean back slightly with the bassoon this way. 9
First Bassoon Lesson, Part 2 /en/lessons/bdp26/#section-3-52-10 OK, now we are ready to put on the bassoon bocal. It is very important when you put on the bassoon bocal that you don't grip it by this end, but you grip it by the top. Slide it in here. If it is very stiff, it might need some cork grease on it. It does have a cork. Make sure that this pad is not down. Sometimes there are whisper key locks that force this pad down. The lock may be on this part of your instrument or it may be where the whisper key is. Make sure the pad is open. The bocal slides in so that the pad will seal the hole on the bocal. OK, so before we put the bassoon reed on, let's see about adjusting our position. First you sit up straight with your back to the chair, and bring the bocal to you. Oh! You can see that mine is too low. So I have to raise it up. Grab the end of the seat strap and raise it up a little bit. That's better. So now we are ready to put on the bassoon reed. The bassoon reed slides on the end of the bocal. I sit up straight and bring the bassoon reed to me. I am ready to try to play with it. So for your first lesson I am going to teach you three fingerings. Put the whisper key down. (I will come up to the camera to show you this soon.) E, first finger. D, second finger. C, third finger. Here it is again. So the whisper key is down. E [mi], D [re], C [do]. So the little tune I am going to teach you is "Hot Cross Buns." Start on the E. It is E, D, C. Let's try this. If you have your bassoon out, go ahead and try this or you can try this later. To start and stop the notes I had to put my tongue on the reed. When the tongue goes on the reed, the reed then stops [vibrating]. So practice that a little bit--“Hot Cross Buns”--those three notes. Now we are ready to take apart the bassoon and show you how the swabs work. Music: Vivaldi's 'La Notte" Bassoon Concerto 10
First Bassoon Lesson, Part 3 /en/lessons/bdp27/ First Bassoon Lesson, Part 3 Part 3 of a first bassoon lesson with Terry B. Ewell. Disassembling the bassoon. Bassoon Digital Professor video #27. www.2reed.net Part 3 of a first bassoon lesson with Terry B. Ewell. Disassembling the bassoon. Bassoon Digital Professor video #27. www.2reed.net 0
First Bassoon Lesson, Part 3 /en/lessons/bdp27/#section-0-14-01 Music: Vivaldi's Bassoon Concerto in E minor Well now we're ready to put our bassoon away. 1
First Bassoon Lesson, Part 3 /en/lessons/bdp27/#section-0-22-02 Never lay your bassoon down flat. The bassoon should either be in your hands are in the case. Bassoons are expensive instruments, even a lesser expensive instrument like this one out of polypropylene will still be several thousands of dollars in cost. So you want to be sure to take care of your bassoon very well. 2
First Bassoon Lesson, Part 3 /en/lessons/bdp27/#section-0-44-03 So the first thing I do with the bassoon is that I take the bassoon apart in the opposite order that I put it together. 3
First Bassoon Lesson, Part 3 /en/lessons/bdp27/#section-0-49-04 So the first off comes the bell. It goes right in. 4
First Bassoon Lesson, Part 3 /en/lessons/bdp27/#section-0-56-05 Next I unhook the pin up here and take off the long joint. I am holding it up here to twist it like this and taking it out and putting it in [the case]. 5
First Bassoon Lesson, Part 3 /en/lessons/bdp27/#section-1-20-06 None of the water gets in these two joints, all of the water gets in the tenor [wing] joint going down from where the bocal was all the way down into the boot joint. Often there will be water that collects here so you want to make sure that you keep this up and down [upright] so it doesn't move the water into any of the pads. 6
First Bassoon Lesson, Part 3 /en/lessons/bdp27/#section-1-39-07 At this point then, holding the bassoon in a place that won't damage any of the keys, holding the wing joint up here, I pull out the wing joint and I gently set that in the case. We will swab that out later. 7
First Bassoon Lesson, Part 3 /en/lessons/bdp27/#section-1-49-08 Then I take out my swabs. This particular case has a couple of swabs. It is very important that you use the right swab for the right joint. One swab is bigger than the other swab. 8
First Bassoon Lesson, Part 3 /en/lessons/bdp27/#section-2-10-09 The bassoon is a conical bore instrument, which means that coming down from the bocal, coming down from the reed, the bore gets gradually bigger and bigger. You can see that it is a smaller bore here and as it comes out the other end it is bigger. 9
First Bassoon Lesson, Part 3 /en/lessons/bdp27/#section-2-25-10 With conical more instruments it's best to swab from big to small. This swab has a little chain at the end. 10
First Bassoon Lesson, Part 3 /en/lessons/bdp27/#section-2-33-11 Drop it down. Shaking it will get it around the boot joint. 11
First Bassoon Lesson, Part 3 /en/lessons/bdp27/#section-2-41-12 It then comes out the other end like this. I pull the swab gently through the instrument. 12
First Bassoon Lesson, Part 3 /en/lessons/bdp27/#section-2-48-13 OK, that joint then goes here. 13
First Bassoon Lesson, Part 3 /en/lessons/bdp27/#section-2-59-14 Last of all, I take that the swap for the tenor joint. I again go for the biggest hole first. The biggest hole is at the opposite end from the bocal. I drop down the swab making sure the swab end is free and I gently pull that through the bassoon and put it back in the case. 14
First Bassoon Lesson, Part 3 /en/lessons/bdp27/#section-3-24-15 The swabs then can be folded up and then stowed away and the other elements stowed away in the case as well. 15
First Bassoon Lesson, Part 3 /en/lessons/bdp27/#section-3-32-16 And there we are. 16
First Bassoon Lesson, Part 3 /en/lessons/bdp27/#section-3-38-17 Thank you for viewing this video. If you're interested in more information, I've written an article titled "Teaching the Beginning Bassoonist." This is available on the website of the International Double Reed Society. 17
First Bassoon Lesson, Part 3 /en/lessons/bdp27/#section-3-49-18 You can get the information on this article, the link on this article as well as other information by visiting the web site www.2reed.net. Thank you. 18
First Bassoon Lesson, Part 3 /en/lessons/bdp27/#section-3-58-19 Music: Vivaldi's Bassoon Concerto, "La Notte" 19
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/ Second Bassoon Lesson, Part 1 Part 1 of a second bassoon lesson with Terry B. Ewell. Posture, position of the bassoon, and right hand placement. Bassoon Digital Professor video #30. www.2reed.net Part 1 of a second bassoon lesson with Terry B. Ewell. Posture, position of the bassoon, and right hand placement. Bassoon Digital Professor video #30. www.2reed.net 0
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-0-00-01 Music: Vivaldi's Concerto in E minor for bassoon and strings 1
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-0-17-02 This is Terry Ewell and I am glad that you have returned for your second bassoon lesson. In this lesson we will be covering again the position of the bassoon and posture. We are going to look at the position of the right hand and introduce a few fingerings for the right hand. We are going to talk about how the angle of the bocal and reed should enter into the mouth. Then breathing technique through the mouth. And then conclude again with how to care for your bassoon when you put it away in the case. 2
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-0-45-03 If you don't remember how to put the bassoon together, be sure to look at the first video. 3
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-1-00-04 To start this, I have brought my bassoon for this particular lesson. I have a different sort of seat strap that has a ring that goes around the boot joint. You might see some white material here. I pasted some white felt on that years ago. It has worn off. I am due to put that on again. That cushions the ring so that it doesn't scrape against the cap that is on the boot joint. 4
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-1-30-05 Once again we need to position the bassoon underneath us. We have the support here. I wanted to talk about another way to support the bassoon as well. You might have noticed if you have seen my other videos that I use a neck strap or harness. 5
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-1-48-06 On my bassoon I also have an extension. 6
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-1-59-07 This one is custom made, but there are also other similar extensions made for the bassoon which hook on to the bassoon. It attaches on to the bassoon. I use the neck strap then to additionally support the bassoon. I takes all the weight off of my left hand. It also frees up my right hand. 7
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-2-22-08 There are several other things you can use for the neck strap. There is this little leather leash-like thing that wraps around the tenor and long joint that some of my students have used. The neck strap then attaches there. 8
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-2-34-09 Most bassoon bocals are created in such a way as to play the bassoon with a neck strap, so that the bocal would enter straight into the mouth. However, since most of us play in a seated position now a days. I think it's helpful to have a bocal with a little bit different bend. 9
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-3-03-10 Bending and adjusting your bocal is something you should only have a repairman do. These are very expensive. But you can see here and and in this particular bocal that my bocal is bent up a little bit more. 10
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-3-14-11 This is helpful then for me with [positioning] the bocal to have the bassoon reed come straight into the mouth. 11
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-3-21-12 That is the issue. We are looking for the most comfortable position for you as a performer. Get seated. Sit straight up in the seat. Have the bocal come straight into the mouth. 12
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-3-44-13 Now, let's take a look at my right hand in its position on bassoon. I will come up to the camera again. 13
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-3-52-14 I use a hand rest or a crutch because I have longer fingers. If you choose not to use a crutch, the important thing is not to lean on this key. These other fingers should not be moving from this particular joint. We want instead have free movement from the knuckles here and want to avoid then just collapsing our fingers and then moving more in this fashion. I created another video that's called "Fingering Technique" where you can see the reason for that. 14
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-4-36-15 So people with larger hands and bigger hands such as mine might find it very helpful to have the bassoon crutch. 15
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-4-49-16 Most bassoonists play with their crutch like this. I find it more comfortable like that. It's just a personal choice. 16
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-4-55-17 Now for the fingerings for the second lesson we are going to learn to play B natural [si], B2, and then A natural [la] which is A2, and then G, putting down this fingering. 17
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-5-09-18 This will help you further in your lesson materials. 18
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-5-18-19 I have to tell you now about something that is more radical. I am in the minority of bassoonists that breathe in this particular way. I breathe by dropping the lower jaw--the mandible--instead of raising the head. 95% of the bassoonists breathe like this. 19
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-5-42-20 I breathe like this. 20
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-5-49-21 I find that dropping the jaw allows for a quicker breath. I don't need to move my entire head. The jaw being a smaller muscle [moves quicker]. When we talk we don't move our head up and down either and yet many people when they breathe on the bassoon anchor the lower lip breathing from above. If you play an instrument like oboe or something like that, the instrument is not fixed so the instrument can move and adjust. But our instrument is fixed [in place]. So I advocate that. I obviously allow my students to make their own choice. But I think it provides for superior and quicker breaths, and I think superior technique on the bassoon. 21
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-6-32-22 Now we're talking about breathing. In a moment you will see diagrams about diaphragmatic breathing. That is using the diaphragm for breathing in and then using other sets muscles to breathe out. You do not breathe out with the diaphragm. You only breathe in with the diaphragm and the surrounding muscles. 22
Second Bassoon Lesson, Part 1 /en/lessons/bdp30/#section-6-52-23 Music: Vivaldi's "La Notte" 23
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/ Second Bassoon Lesson, Part 2 Part 2 of a second bassoon lesson with Terry B. Ewell. Instructions for proper breathing and further information on care of the bassoon. Bassoon Digital Professor video #31. www.2reed.net Part 2 of a second bassoon lesson with Terry B. Ewell. Instructions for proper breathing and further information on care of the bassoon. Bassoon Digital Professor video #31. www.2reed.net 0
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-0-16-01 Music: Vivaldi's Bassoon Concerto in E minor 1
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-0-19-02 We have two different sets of muscles that participate in our breathing in--inhalation--and breathing out, which is termed exhalation. 2
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-0-31-03 So let's examine first the muscles that help us breathe in. The costal muscles are those muscles largely associated with the rib cage. Between the ribs we have muscles called the intercostal muscles that help of rib cage expand and move up and out. This draws in air with the lungs. This is a type of breathing that we might call chest breathing. 3
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-1-00-04 We have another very important muscle that is called the diaphragm. The diaphragm is a domed-shaped muscle that sits underneath the lungs here and when you breathe in, the diaphragm flattens. Here is another picture with the diaphragm down here, and when this particular muscle contracts it draws in air. 4
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-1-25-05 There have been some studies of the effect of these different sets of muscles. It's largely found that chest breathing accounts for about 40% of lung capacity and diaphragmatic breathing, that is, breathing using the diaphragm contributes the additional 60%. So you can see the diaphragm is very important for breathing and it's important that you learn how to do that. 5
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-1-54-06 Now normally when we breathe in we use muscles to breathe in and we just relax and the air goes out. However, with playing a wind instrument there is a good deal force that has to push through the wind instrument. (Here we have a little oboe reed pictured.) We need to use the abdominal muscles, the abdomen the muscles in this area to push out--as well as contributors from other areas--here to push out the air. The diaphragm never pushes out air. The diaphragm only brings in air. The abdominal muscles are the ones that push out air. 6
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-2-36-07 Now I often use the analogy of a bottle when describing a nice slow breath to beginners. You should first fill the bottle from the bottom: that means using the diaphragm to pull in the air. Then as the bottle fills (as it were), as the lungs expand, we allow the air to increase in the chest cavity allowing the chest—the intercostal muscles, and the costal muscles--to participate in that breathing. Obviously when you take a very quick breath both the diaphragm and costal muscles are breathing all together in one very swift breath. 7
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-3-22-08 OK, it is time to lie down on the floor and practice this other method [diaphragmatic breathing]. 8
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-3-28-09 So get down on the floor, put your hand on your abdomen. We are going to get a sense of the proper movement of the diaphragm as the diaphragm moves down and pushes the internal organs out. 9
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-3-55-10 Ah, that is so relaxing. I think I could just go to sleep there! 10
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-3-59-11 It is important for you to understand the proper use of those muscles. How that feels with those muscles expanding. 11
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-4-08-12 We don't want you breathing from the shoulders. The shoulders participate in the breathing, but only after the lower part of your body expands. The lungs expand from the base and expand up through the chest cavity and the shoulders simply rise. 12
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-4-25-13 We want to avoid chest breathing only. We want to use the entire lung capacity that you have. The bassoon is a wind instrument that uses a lot of air. 13
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-4-36-14 OK,we are coming to the end of our second lesson. It is time once again take the bassoon part. 14
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-4-42-15 I showed in the first lesson how to take apart the other bassoon and I am going to take apart my bassoon too. 15
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-4-52-16 Everything needs to be stowed in the right place, so I put away the crutch, the hand rest. 16
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-4-59-17 You will notice that my case is a little bit smaller. 17
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-5-03-18 Now next I take the bocal. I actually blow out the water out of the bocal. I put down a piece of paper here so I don't get things too messed up. Put away the bocal. 18
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-5-19-19 Next comes off the bell joint. Take off my contraption here. 19
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-5-31-20 Stow that away. 20
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-5-34-21 Take off my guard. 21
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-5-38-22 Next is the long joint coming off. 22
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-5-47-23 Now, I keep a cloth between my two joints to avoid the joints rubbing against each other. 23
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-5-55-24 Next we take off the tenor joint. This is the thing I wanted to make sure you saw: When you take off the boot joint keep that up[right]. Be sure that you dump the water out from a little hole. I don't have much water here. This part is lined: there is a rubber lining that goes down there. This part is not [lined]. You want to avoid any water touching wood. 24
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-6-26-25 Well, now it is time to swab out the bassoon. 25
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-6-30-26 Again you put down the swab in the big hole. It comes out the little hole. 26
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-6-37-27 Pull it through. 27
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-6-43-28 And similarly, swab from the big end first. 28
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-6-48-29 Make sure your swab is not tangled up. Then pull it through. 29
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-6-56-30 Pull it through this end. 30
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-7-01-31 We just swabbed out the bassoon. 31
Second Bassoon Lesson, Part 2 /en/lessons/bdp31/#section-7-13-32 Music: Vivaldi's Bassoon Concerto, “La Notte” 32
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/ Third Bassoon Lesson, Part 1 Part 1 of the third bassoon lesson with Terry B. Ewell. Articulation experiments. Bassoon Digital Professor video #33. www.2reed.net Part 1 of the third bassoon lesson with Terry B. Ewell. Articulation experiments. Bassoon Digital Professor video #33. www.2reed.net 0
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-0-00-01 Music: Vivaldi Concerto in E minor In lesson three we are going to do what I like to call the "articulation experiments." Perhaps if you are in high school you have taken some chemistry and physics classes and you have done some experiments where you look at the data and you do a study. 1
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-0-32-02 I want you to have that in mind as we are looking at these experiments. These experiments will tell us important aspects of articulation. I think they help determine what method we use for articulation on the basson and when it is appropriate. 2
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-0-53-03 So, let's get on with the articulation experiments. What you will need is a bocal and a reed: a reed that is soaked, that is. 3
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-1-00-04 For these experiments I would like you to take a piece of paper and make a little graph, little chart. 4
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-1-18-05 But first I will start with a little quiz. Let's see how well you do. How many ways can you think of starting and stopping tones on the bassoon. 5
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-1-28-06 I can think of five ways. See how many of these ways you can put down on your piece of paper. I encourage now you to stop the video and try to think of the different ways in which we start and stop tones on the bassoon. 6
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-1-53-07 OK, so how did you do? Most of my students are able to find three ways in which to start and stop tones on the bassoon. The first way being stopping and starting the air. 7
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-2-07-08 The next being the embouchure. If you close off the reed all the way, it doesn't vibrate. It doesn't matter how hard you blow, it doesn't matter, if you close off the reed all the way it doesn't vibrate. 8
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-2-18-09 A third way is with the tongue. I actually split this up into two ways (3rd and 4th way). The tip of the tongue on the reed is one way to stop it, and also the tongue if it touches the roof of the mouth in what we call double tongue or varied other tonguing techniques that you might use on the roof of the mouth or the back of the tongue of the tongue (which is another way to stop it). 9
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-2-48-10 The fifth way is very uncommon. It is one that we don't use with wind insturments (although a few people use it). It is called a glottal stop. If you just go "ah...ah...ah" stopping right there. You are stopping that tone with the glottis. That can also stop the tone on the bassoon. 10
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-3-05-11 But that is not something we use for stopping the tone in wind playing. I don't advocate that. 11
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-3-12-12 So you now have the three basic ways. You have the air stop, you have the stop with the embouchure, and the stop with the tongue. 12
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-3-29-13 Now we are going to test each method. I want you to make a diagram like the one shown on the screen right now. One for charting the air, one for charting the embouchure, and one for charting the tongue. 13
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-3-50-14 Now take your bocal, take your reed and we are doing this experiment on the bocal because it is unstable. Toot toot toot toot It makes a great little party insturment. Use it on New Year's Eve! 14
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-4-04-15 It allows us to hear the signatures of each of these types of articulation. By signatures I mean the characteristics of these types of articulation. 15
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-4-16-16 So the very first one we will test is the air articulation. I want you to keep the jaw the same, the embouchure the same, and just start with the air. Increase the air speed--like a crescendo--and the decrease it. But keeping this [the embouchure] the same altogether. 16
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-4-35-17 I will do the experiment for you right here. rising tone with cresendo and lowering tone with diminuendo 17
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-4-37-18 I started with the tongue. This time I will start without the tongue. 18
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-4-52-19 rising tone with cresendo and lowering tone with diminuendo Did you here the change in pitch there? As I increased the air the pitch went up. As I decreased the air the pitch went down. 19
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-5-00-20 OK, put that on your chart right now. Next we are going to test the embouchure. 20
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-5-07-21 So I want you to take the embouchure (if this is the reed and this is the embouchure) I want you to close off the reed altogether. Then you are going to drop your jaw and then release the reed, the reed is going to vibrate, and then you are going to close it off again. 21
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-5-22-22 So let me do the embouchure articulation. tone falling and then rising 22
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-5-25-23 Did you hear how the pitch scooped down as I opened my jaw and then it went up as I closed me jaw? 23
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-5-38-24 This is very important. This is is a characteristic of the double reed, as is the air [articluation] shape. 24
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-5-51-25 Last of all--the tongue. So take the reed, put you tongue on it, the air starts, the embouchure is all set. You release the tongue, the reed vibrates, then you put the tongue back on the reed. Let's see what the characteristic signature of that is. tone 25
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-6-07-26 There is just a straight tone. 26
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-6-17-27 OK, make sure to chart that as well. Now with those three determinations, now we are going to find out the speed of each articulation. 27
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-6-24-28 So I want you to stop and start the tone as quickly as you can with the air. repeated tones 28
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-6-29-29 I can't do it very fast so I would characterize that tempo as slow. Next I want you to take the reed with the embouchure and stop and start with the embouchure as rapidly as you can. 29
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-6-45-30 repeated tones 30
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-6-51-31 I can do that much quicker--you can hear that. But I don't have a lot of control. You can hear how the notes are sagging [in pitch]. Then with the tongue, the single tongue: quick, repeated tones it is very rapid. 31
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-7-10-32 So we have learned some very important things, right now, as a result of our articulation experiments. These results will carry over to our playing. We have learned that if we are going to choose an articulation by itself the tongued articulation superior. It is superior 1) because it retains an even pitch; 2) for speed. 32
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-7-37-33 Now like many people I don't appreciate every note being stopped with the tongue, as it were, like a sausage cut off at the end. tone demonstrating abrupt stop with the tongue That tends to be rude. That tends to be abrupt. So often I and many others use a combination of the air and the embouchure to shape the ending of the note. 33
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-8-04-34 We start each note with the tongue but we shape the ending with the air and the embouchure. 34
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-8-10-35 tones played demonstrating starting with tongue and ending with air and embouchure 35
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-8-11-36 With proper shaping--remember when the air drops--the pitch goes down. So the embouchure has to compensate for, it has to tighten. 36
Third Bassoon Lesson, Part 1 /en/lessons/bdp33/#section-8-25-37 Music: La Notte Bassoon Concerto for Bassoon, Strings, and Continuo. 37
Third Bassoon Lesson, Part 2 /en/lessons/bdp34/ Third Bassoon Lesson, Part 2 Part 2 of the third bassoon lesson with Terry B. Ewell. Three different ways to stop notes. Demonstrations in studies. Bassoon Digital Professor video #34. www.2reed.net Part 2 of the third bassoon lesson with Terry B. Ewell. Three different ways to stop notes. Demonstrations in studies. Bassoon Digital Professor video #34. www.2reed.net 0
Third Bassoon Lesson, Part 2 /en/lessons/bdp34/#section-01 Music: Vivaldi's E minor Concerto OK, So let's apply some of these principles that we have already learned about articulation. Let's apply these now to some of the studies you would have for this lesson. Well the first study we are going to do now is from Rubank [Elementary Method]. I am going to play from the first two of measures of rhythmic studies number one. music That particular stop to each note was done with just the tongue. I kept the air constant. I didn't move the embouchure. This is the reed, this is the tongue. The reed is vibrating. The tongue stops the vibration and release. demonstration of tonguing Just a little touch of the tongue to the reed. I will do that again. music I would like you to observe your embouchure. It is a good idea to have a mirror. Make sure that are no changes here [with your embouchure]. It should look the same as if you are slurring it like this. music-all slurred The air is kept constant. There is still pressure behind the tongue when you stop the reed. The reed is vibrating here, the tongue stops it. It is a bit like your water faucet in your house or in your tap. When you turn it on, water comes out because there is already pressure behind it. When you turn off it off--that valve--or shut off, there is no water coming out. OK so let's go on to the second example here. This is a little bit different because every note is not stopped with the tongue, but we have some rests introduced. Where you have time to round out the note, to make a slight diminuendo,a nice a resonant ending to the note. You should do that. This is done with the air supply stopping and the embouchure closing to keep the pitch from dropping. Just as we have already illustrated with our experiments. So here is number two. music I don't know if you can see my embouchure here, if there is any change. music I am closing it [the embouchure] off slightly at the end of those notes [followed by rests.] You see it is important for us to master both types of endings to notes. The ending using the air and the embouchure--the resonant ending to the note--and the ending stopping the note with the tongue. Alright, let's look at one other study. Let's look at this Weissenborn study number three. It is now appearing on your screen. In particular I want us to look at measures five and six. This is the first time we now have staccato eighth notes included here. With the staccato eighth notes we can play these with the two different endings. In fact I think it is good to practice the two different endings. Here in measures 5 and 6, and I will play measures 7 and 8 as well. Let me end the staccato notes with the air and the embouchure. music So I am actually stopping each note and rounding it out again with the embouchure closing. music Now the other way I can stop the notes is with the tongue. This time I am going to stop the notes with the tongue abruptly. So you can hear it [the staccato notes] stop immediately. music Did you hear how the ending was squared off on those eighth notes.. Now I can adjust the length of a note just by when I place the tongue on the reed. First I will make them very short. then the next time I will make them longer for you. music Those were the shorter notes. Now I will lengthen the note but still stop it with the tongue. music Could you hear how those were longer? I kept the air supply going throughout the notes. Now those were with the more abrupt ending. I can also make short notes by placing the tongue on the reed a little bit more slowly and get the effect of the resonant ending however, doing it with the tongue. Let me illustrate this in slow motion for you. So, for instance, let me play a note and make a tongued diminuendo. Yes, I am making a diminuendo just by the rate at which I put the tongue on the reed. music: example of diminuendo with tongue Can you hear how the note closed off? music This is just doing it with the tongue. You can do this with a faster motion, which is what I will do now. music I didn't do is well. Let me try it again. music So you can vary the speed at which the tongue goes on the notes. Let me give you a little study. I know this is a lot to do in the third lesson, but some of these principles can carry forward later. I am giving to you a little study here with some eighth notes followed by eighth rests. Let's set the metronome for 80. What I want you to do is three different stops to the notes. The first stop is with the air and the embouchure. Music: demonstration of air and embouchure stops For each of those, I felt my (stomach) abdominal muscles pulsing: "hoo hoo hoo." Let's try that again. Music: demonstration of air and embouchure stops So there was a pulse to it. Now this time for the tongued, abrupt stop. We are going to use the tongue, but keep the air constant through the whole thing. So here is the tongued, abrupt stop. Music: demonstration of tongued stops I missed a note there. I wasn't too happy. Let's do that again. Music: demonstration of tongued stops Can you hear how each note was chopped off at the end? Now, I am going to use the air constant, but the tongue less abrupt at the end [of each note]. Music: demonstration of tongued stops--less abrupt Could you here that? Could you hear those subtle differences? It is important for you as a bassoonist to master these different techniques. It is not that one is right and one is wrong. They are all equally good [for] certain situations. Some are more appropriate for certain situations; other types of articulation for others. You want to be the type of player who has freedom, who is able to choose from all of these different techniques. You don't want to be locked into one type of articulation. You want to have varied articulations. This will give you the greatest variety, the greatest color to your playing. So that is a little exercise for you to practice. Practice it at some different tempos. Explore what your tongue can do on the reed. Explore also your air and embouchure releases. So that you discover your abilities and you continue to improve your playing. Music: Vivaldi's “La Notte” concerto for Bassoon, Strings, and Continuo 1
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/ Fourth Bassoon Lesson, Part 1 Part 1 of the fourth bassoon lesson with Terry B. Ewell. Discusses timing and use of the metronome. Bassoon Digital Professor video #35. www.2reed.net Part 1 of the fourth bassoon lesson with Terry B. Ewell. Discusses timing and use of the metronome. Bassoon Digital Professor video #35. www.2reed.net 0
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-0-00-01 music: Vivaldi's Concerto in E minor 1
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-0-22-02 In this particular lesson you will be learning about two very important aspects in music. If you think about music is actually really quite simple. If you play your notes in time in tune with a good tone you have accomplished an awful lot of the technique required play music. 2
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-0-47-03 Now I understand that there's other features to music:vibrato, musicality, phrasing, dynamics and things like that. But if you master these three aspects of music: playing time, in tune, and with a good tone; you are well on your way to really being a fine musician. 3
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-1-09-04 So this lesson is going to be important because we are going to handle two those aspects. 4
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-1-14-05 We are going to talk about playing time and then later in the next lesson we are going to talk about playing in tune. So you might want to think of there being five aspects to starting a tone. 5
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-1-24-06 [1] First exhale to clear the air our your lungs. [2] Next inhale, [3] put your tongue on the tip of the reed [4] start the air pressure and [5] then release the tongue. 6
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-1-36-07 You need to do all those over in such a time and in such a place that you can start the first note on time. 7
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-1-41-08 So let's take a look a little exercise and practice our breathing before we start notes. So this first exercise: you can see we have a measure rest, a breath, and then two half notes. I am going to set the metronome for the pulse of 60 and we are going to practice our breathing in two different ways. 8
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-2-11-09 Let's practice first breathing in over two beats and then starting the first note. 9
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-2-17-10 So just like this. music 10
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-2-25-11 I took a breath over to the two beats. That gave me plenty of time to take a big breath. This is the sort of thing I would do for a very long phrase. But most often I time my breathing to the beats in some way. So let's just try breathing in now with just a single beat for the breath. 11
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-2-52-12 music 12
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-3-03-13 Before I breathed in I had to make sure that I had exhaled the air out of my lungs. So when exhaling I breathed out on beat three (out), breathed in on beat four, and then I started the note. 13
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-3-13-14 Work on this so that you can you can time and start the note properly right after the breath. 14
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-3-20-15 The next exercise I have here deals with two half notes and then you have to breathe between the half notes and two other half notes. So consequently these four half notes are not the same duration. 15
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-3-42-16 When I have to breathe between two notes I have to actually cut off the note on right before the breath. So consequently these four notes are not of equal value. I have to breathe in this instance after the second note, cutting a little bit short in order to enter on time in the third note. So let's try that. 16
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-4-10-17 Again I have my metronome set for 60. 17
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-4-30-18 music Try that exercise several times until you have really mastered it. 18
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-4-34-19 Timing those breaths are often little bit difficult and you need to practice them many times until you have mastered it. 19
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-4-45-20 One of the most common things for wind players is to be late after a breath. 20
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-4-50-21 Working with a metronome on these sort of issues here helps you with your timing and makes certain that you're playing the notes on time. Listen very carefully to your playing. 21
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-5-02-22 So let's give an example here of something that is in one of our study books. You can see here that there are breaths given after the half note in measure 2, the fourth half note, and the exercise continues on. 22
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-5-19-23 So let's play this again with the metronome again which I have set for 60. I am going to take my breaths and play this as written. 23
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-5-39-24 music 24
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-5-53-25 I forgot how that goes on. In any case I played the next note. So you can see that I have to steal a little value from the note just before the breath and breathe in quickly and then play the next note. 25
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-6-06-26 In these instances I didn't breathe a whole beat. I've learned well enough in my playing to cheat the note a little bit and take my breath. But at this point, in this lesson you might need entire beat to breathe in. That's just fine. Just make sure that you enter on the next note in time. 26
Fourth Bassoon Lesson, Part 1 /en/lessons/bdp35/#section-6-22-27 music: Vivaldi's "La Notte" 27
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/ Fourth Bassoon Lesson, Part 2 Part 2 of the fourth bassoon lesson with Terry B. Ewell. Discusses tuning and use of drones. Bassoon Digital Professor video #36. www.2reed.net Part 2 of the fourth bassoon lesson with Terry B. Ewell. Discusses tuning and use of drones. Bassoon Digital Professor video #36. www.2reed.net 0
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-0-14-01 music: Vivaldi's Bassoon Concerto in E minor 1
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-0-16-02 Well in this part of the lesson you are going to discover a second essential tool for helping us develop as musicians. We worked in the last lesson with the metronome. My metronome looks a little bit like a flying saucer. Yours probably looks different. The metronome is absolutely essential. But in addition to that we need another tool that helps us work on intonation. I believe that you as a student should not only use the metronome every day. but you should use another tool everyday. 2
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-0-50-03 That tool is what I call "drones." This is just a single, flat pitch, sounding pitch. Actually I've chosen the sound of an organ because it's very rich in harmonics. It helps us more easily tune to a set note but listening how the note fits. 3
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-1-12-04 You can use these drones by downloading them as mp3 files from www.2reed.net. 4
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-1-19-05 I have my drones burned on a CD here and I have a CD player. But I realize that very soon CDs will be passe. But if you have an iPod put it on your iPod. 5
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-1-32-06 Now when you're working with drones you can use on your your headset, but what I suggest is that you put it over one ear and leave the other ear open. That way your hearing the drone through one ear and in your hearing your instrument through the other and you are able to make your adjustments. 6
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-1-50-07 OK, so let's start some work with drones. 7
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-1-55-08 Well we are going to discover a few ways to use drones in this lesson that you can continue to apply throughout your career. 8
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-2-03-09 I found them very helpful for me and my students and I think you will as well. 9
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-2-08-10 Obviously you can use drones as a way to tune a single pitch. For instance, if we are playing exercises practicing stopping and starting pitches, you can put on the metronome and practice that. 10
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-2-23-11 For instance, I have here an F [Fa]. music: repeated Fs 11
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-2-36-12 I can just practice stopping and starting notes. Oh, this is in great exercise for just practicing the in the low register on bassoon where we tend to be so sharp.(But that's another matter.) 12
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-2-47-13 OK, you can set the drone for what we call the tonic, or the note name, the first note of the scale or that the key signature. This is often very helpful tuning. I have selected two studies for us out of the Rubank method that illustrate how we could use drones and how I'd like you use drones when you practice by yourself. 13
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-3-15-14 For instance, in this first study we have a B flat major chord so I have set the drone to B flat for the tonic note. 14
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-3-25-15 music 15
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-3-47-16 The reason I like drones so much is that unlike a tuner that has a needle that moves around (and with that needle you're making adjustments based on what your eye sees), with a drones you have to tune with the ear. 16
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-4-00-17 It really is, after all, it is the ear that you are using when you play music not your eye to tune your intonation. So this is a great way to become very adept and very perceptive at how you play tune. 17
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-4-17-18 This time let me play again a B flat. I'm going to raise and lower the pitch a little bit and see if you can hear when I'm in tune in at out of tune. 18
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-4-43-19 music 19
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-4-44-20 I started in tune and went up a little bit and then down little bit and then back in tune. One way you can tell when something's out of tune is that it oscillates and the notes seem to fight. When they get into tune, they get closer, they fight less, and then suddenly it is like the waves are just there just moving together, parallel. 20
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-5-07-21 So you need to listen to this and figure out what it means when you're in tune out of tune and you can do that by playing a drone and moving up and down the pitch a little bit to see where you match the tone. 21
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-5-22-22 You can also practice your scales, not just the arpeggios or chords on the bassoon, but scales with the drone. For instance here's a B flat scale with the drone. 22
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-5-45-23 music 23
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-5-52-24 I could hear that I was having a little bit of trouble perfectly matching that high B flat That would be something I should work so that it is just right there from the beginning of the note. 24
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-6-03-25 Now one of the issues with setting drones is to know which drone to set to. For instance, let's look at the next example. 25
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-6-11-26 We have one flat in it. It starts on F [Fa]. Actually it is in the key of F major. 26
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-6-20-27 So one possibility is setting the drone for F. This is what it would sound like with F going. 27
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-6-28-28 music 28
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-6-46-29 That was helpful. I could adjust the pitch of several the notes there. However, one other possibility--because music often moves from what we call a tonic chord to a dominant chord (and these are things you may not yet heard [about] in music)--is to second the drone to what we call dominant or the fifth scale degree. 29
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-7-10-30 A way for us to find that fifth scale degree is to figure out what is the note name of the key signature or the tonic (in this case is F) and counting up five notes. So counting up we have F, G, A, B flat, C. C [Do] is the fifth note. So setting the drone for C often gives me more notes to tune or more notes that fit the drone than might be the case for F. Let meet try that top line again using the drone. 30
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-8-00-31 music 31
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-8-01-32 So you see with the C drone generally notes that are a third higher a fourth, even a fifth higher are notes that you can easily tune within it. It sounds a little bit complicated, it is not that complicated. It is related to the way sounds work nature with what we call acoustics. 32
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-8-23-33 But experiment with different pitches, that's really the thing, listened to yourself. Set it for the tonic or the note name and then try five steps above it. Just experiment using the ear, helping yourself to play tune. I think you really you advance your playing very rapidly. 33
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-8-43-34 After all you wouldn't go out in public without examining yourself and combing your hair. Why would go perform in public without carefully examining yourself using a tool of a metronome, and using the tool of the drone so that you play better; so that you are at your best. So I encourage you to use these two tools and adjust your playing. God bless. 34
Fourth Bassoon Lesson, Part 2 /en/lessons/bdp36/#section-9-08-35 music: Vivaldi's Bassoon Concerto "La Notte" 35
Fifth Bassoon Lesson /en/lessons/bdp37/ Fifth Bassoon Lesson Fifth bassoon lesson. Difficult fingerings for the beginning bassoonist. Bassoon Digital Professor video #37. www.2reed.net Fifth bassoon lesson. Difficult fingerings for the beginning bassoonist. Bassoon Digital Professor video #37. www.2reed.net 0
Fifth Bassoon Lesson /en/lessons/bdp37/#section-0-00-01 music: Vivaldi's E minor Bassoon Concerto 1
Fifth Bassoon Lesson /en/lessons/bdp37/#section-0-16-02 Well, welcome back! I really hope that lessons are helpful for you advancing as a bassoonist. I hope that you are encouraged, working hard, and enjoying playing bassoon. I enjoy playing bassoon and I want you to as well. 2
Fifth Bassoon Lesson /en/lessons/bdp37/#section-0-33-03 Sometimes I get frustrated playing the bassoon and I've explored a whole bunch of blind alleys and difficulties on the instrument that I hope that you can avoid. That is why right now I'm trying to give you some of these tips so that you can avoid some of the difficulties I have had and progress quickly playing bassoon and enjoying what you are doing. 3
Fifth Bassoon Lesson /en/lessons/bdp37/#section-0-57-04 So in this portion right now we are going to discuss some of the more difficult fingerings on the bassoon. Particularly the ones that come to the young bassoonist, the beginning bassoonist. I am hoping that these will help you. 4
Fifth Bassoon Lesson /en/lessons/bdp37/#section-1-10-05 I want to first start with C sharp 3 or D flat 3.This is a rather complicated fingering. 5
Fifth Bassoon Lesson /en/lessons/bdp37/#section-1-23-06 I am going to come up to the camera and show you what happens with the thumb. 6
Fifth Bassoon Lesson /en/lessons/bdp37/#section-1-27-07 First for this fingering you have the front three fingers down. 7
Fifth Bassoon Lesson /en/lessons/bdp37/#section-1-32-08 At the back it becomes quite complex. 8
Fifth Bassoon Lesson /en/lessons/bdp37/#section-1-36-09 You need to have down the whisper key and this key --the C sharp key, and this key --the D key. 9
Fifth Bassoon Lesson /en/lessons/bdp37/#section-1-46-10 So you have to learn to turn your thumb like that. 10
Fifth Bassoon Lesson /en/lessons/bdp37/#section-1-54-11 You don't want the whisper key to come up: for you to lift up and put down these fingers and then come back. 11
Fifth Bassoon Lesson /en/lessons/bdp37/#section-2-02-12 But instead turn pivot the thumb like this. 12
Fifth Bassoon Lesson /en/lessons/bdp37/#section-2-09-13 Well, that is quite complicated and it will take you quite a while to master that particular fingering and the technique, to slowly and accurately move your thumb there. 13
Fifth Bassoon Lesson /en/lessons/bdp37/#section-2-24-14 There is a piece that I play that has a lot of that C sharps. You may have heard my performance of "Flight of the Bumblebee" before. 14
Fifth Bassoon Lesson /en/lessons/bdp37/#section-2-32-15 The opening of it has that C sharp or D flat. 15
Fifth Bassoon Lesson /en/lessons/bdp37/#section-2-51-16 music Right in there: music Right there is from the D to C sharp. 16
Fifth Bassoon Lesson /en/lessons/bdp37/#section-2-54-17 music 17
Fifth Bassoon Lesson /en/lessons/bdp37/#section-2-56-18 It is not possible at that speed to pick up my thumb and put it down, pick it up, put it down again before and after I play that particular note C sharp. So you just don't have a choice. So learning the proper technique, developing those skills from the beginning, is really going to help you. 18
Fifth Bassoon Lesson /en/lessons/bdp37/#section-3-16-19 Now the other difficult fingering on the bassoon is the forked fingering for the E flat. 19
Fifth Bassoon Lesson /en/lessons/bdp37/#section-3-24-20 This involves 1 first finger and 3 third finger down. This 2 is up, which is why they call it forked, there is a space in between these two fingers. 20
Fifth Bassoon Lesson /en/lessons/bdp37/#section-3-37-21 Most of the other woodwind instruments--the flute, the clarinet, the saxophone, and others--all avoid the forked fingerings. The bassoon, however, still has many forked fingerings. Attempts to get rid of it have been so clumsy that bassoonists have chosen to continue with the forked fingerings. 21
Fifth Bassoon Lesson /en/lessons/bdp37/#section-3-54-22 Now the left hand E flat (or D sharp), E flat 3, has 1 and 3 down and then again the whisper key. 22
Fifth Bassoon Lesson /en/lessons/bdp37/#section-4-06-23 This is, however, a bit unstable on our instrument. 23
Fifth Bassoon Lesson /en/lessons/bdp37/#section-4-10-24 demonstration of instability of E flat 3 24
Fifth Bassoon Lesson /en/lessons/bdp37/#section-4-15-25 I can place the pitch all over the place. And sometimes it is not very stable. So I add fingers and right hand. Some people add the thumb B flat and the the first finger in the right hand. 25
Fifth Bassoon Lesson /en/lessons/bdp37/#section-4-32-26 I, however, like the second finger added. 26
Fifth Bassoon Lesson /en/lessons/bdp37/#section-4-36-27 It gives me a more resonant sound. I tend to choose fingerings that are more resonant because the bassoon often doesn't project well. So that is my choice. I realize this is a very clumsy fingering but if you learn it and start mastering it at young age, you can use it very quickly. 27
Fifth Bassoon Lesson /en/lessons/bdp37/#section-4-59-28 When I have very speedy notes, (as I just did in the "Flight of the Bumblebee," the opening I just played for you) I only use a left hand E flat. However, when I am playing slowly then I do add these other two fingers in the right hand. 28
Fifth Bassoon Lesson /en/lessons/bdp37/#section-5-18-29 Well, you have progressed far enough now that you are ready to start notes above open F, what we may call "the break" on the bassoon. These notes, F sharp 3, G 3, and Ab 3 all have to use what we call the "half hole." 29
Fifth Bassoon Lesson /en/lessons/bdp37/#section-5-41-30 The half hole happens with the first finger, the left hand index finger. The half hole motion is not made by sliding the finger, rather it is made by rolling the finger. 30
Fifth Bassoon Lesson /en/lessons/bdp37/#section-5-55-31 You can find the proper position of this hole on this finger by pressing down your finger very forcefully and then taking a look at the impression of the hole, where it appears on your finger. 31
Fifth Bassoon Lesson /en/lessons/bdp37/#section-6-15-32 It should appear on the upper portion of your finger. 32
Fifth Bassoon Lesson /en/lessons/bdp37/#section-6-19-33 It should not appear right in the middle. (Again the upper portion.) Let me do that again. 33
Fifth Bassoon Lesson /en/lessons/bdp37/#section-6-25-34 I hope that you can see that camera. 34
Fifth Bassoon Lesson /en/lessons/bdp37/#section-6-30-35 By having it on the upper portion you can then roll the finger back and forth in order to make very smooth motions. 35
Fifth Bassoon Lesson /en/lessons/bdp37/#section-6-50-36 music That is me going from an A natural to a G sharp. An A natural does not need the half hole, but the G sharp does. 36
Fifth Bassoon Lesson /en/lessons/bdp37/#section-6-59-37 music 37
Fifth Bassoon Lesson /en/lessons/bdp37/#section-7-03-38 G natural needs it. 38
Fifth Bassoon Lesson /en/lessons/bdp37/#section-7-04-39 music 39
Fifth Bassoon Lesson /en/lessons/bdp37/#section-7-05-40 To play my G natural in tune I add this little finger key. It makes a big difference and lowers the pitch. Here is without it. 40
Fifth Bassoon Lesson /en/lessons/bdp37/#section-7-14-41 music: demonstration of adding and subtracting little finger key 41
Fifth Bassoon Lesson /en/lessons/bdp37/#section-7-20-42 It lowers that pitch and gives a little more resonance to the note. So I encourage you do that as well. 42
Fifth Bassoon Lesson /en/lessons/bdp37/#section-7-27-43 And then F sharp. 43
Fifth Bassoon Lesson /en/lessons/bdp37/#section-7-28-44 music: demonstration F sharp 3 Now you will notice that just by changing the position of this hole i.e. 1/4 open or 3/4 open you can also alter the intonation a little bit. I have another of another video that talks fingering technique which goes into the tuning of those notes a bit. 44
Fifth Bassoon Lesson /en/lessons/bdp37/#section-7-48-45 But let's not worry about that. Just try to get the half holes out and you will learn from experience how much to vent that particular hole. 45
Fifth Bassoon Lesson /en/lessons/bdp37/#section-7-57-46 Well, those are some of the difficult fingerings on the bassoon you need a master at this time. Take your time, learn those fingerings very carefully, and you will be well rewarded by the time you put in. 46
Fifth Bassoon Lesson /en/lessons/bdp37/#section-8-12-47 music: Vivaldi's Concerto "La Notte" 47
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/ Sixth Bassoon Lesson, Part 1 Use of flick or speaker keys. Upward and downward slurs of Use of flick or speaker keys. Upward and downward slurs of an octave. By Terry B. Ewell. BDP#193. www.2reed.net/bdp. 0
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-0-00-01 Intro Music: "Home Sweet Home" from A Tune a Day, lesson 29 number 6. 1
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-0-14-02 Hello, I am Terry Ewell. I welcome you to this continuation of the series on beginning bassoon lessons. I started the series in 2008 (See BDP 25-27; 30-37). This series is based upon an article that I wrote in the year 2000. Teaching the Beginning Bassoonist 2
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-0-29-03 I am sorry it has taken me so long to get back to the series. You have probably noticed that I have been busy making a number of other videos. 3
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-0-39-04 So, let's get started! The art of "flicking" is one of the most difficult things for young bassoonists to do. Given the difficulty, I think that it is important the students understand the reason for doing this. I always take the approach that Norman Herzberg did when he introduced flicking to me. I am going to give this to you now. 4
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-1-05-05 The purpose of the flick keys, or speaker keys, can be demonstrated on the pitch A3 above open F. Demonstration of tonguing A3 without the flick key down or a half hole. 5
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-1-22-06 You will notice that the start of each note is not very good. Sometimes there is a little extra "kk" or extra noise that is part of that. However, if I hold down the A speaker, the A flick key, that will be cleaned up. Demonstration of tonguing A3 with the flick key down. 6
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-1-35-07 Every note is quite solid now and plays well. 7
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-1-47-08 There are several other notes that can be improved with flicking. Although I introduce the notes in later lessons, let's go ahead and group them altogether now. So we introduce Bb3, B3, C4, and occasionally I flick D4. 8
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-2-04-09 Please note that some of the student instruments do not have a D key. 9
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-2-17-10 I mention here that I use a numbering system or octave designations for the pitches that is developed by the Acoustical Society of America. This system is now standard throughout America and in many American universities. Pitch Numbering and Octave Designations 10
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-2-39-11 Although some bassoonists (mainly in Europe) hold down the speaker or flick keys for the full duration of the note, I like many other Americans release the keys once the note starts. Thus we give the word "flicking" for it because we depress and release the key. The key must be down, however, at the start of the note. 11
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-3-00-12 There are two situations that require the flick keys. The first is when you articulation one of the notes that needs to be flicked. 12
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-3-14-13 Rubank lesson 6, number 3 provides an example of this. Example: Rubank lesson 6, number 3. 13
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-3-44-14 The second instance when we need to use the flick key is when we slur to one of those special notes with the interval of a third or more. 14
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-4-02-15 The exercise in Lesson 6 number 6 from A Tune A Day helps students to master the flicking technique during octave skips. So let's break this apart in two ways. First let's practice the release of the whisper key on the beat, the flick of the octave on the beat, and the release on the beat. Let me demonstrate first how this is done on the A octave. Example: A2-A3. 15
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-4-43-16 This is an easy way to first learn how to do that. So let me play number 6 for you now. Example: A Tune A Day, Lesson 15, number 6, with rhythmic flicking. 16
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-5-30-17 Now you may have noticed that I used the D key for to flick for C4. Normally you use the C key, but I do find in certain occasions that using the D key raises the pitch of C4 slightly. That is a flat note on my instrument. So I find that helps to bring up the pitch. 17
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-5-57-18 Now let's do the exercise again but this time I will flick more rapidly. Example: A Tune A Day, Lesson 15, number 6, with more rapid flicking. 18
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-6-40-19 The down slur portion is in many ways just as difficult if not more difficult than the upward slurs of an octave. The way to effectively slur downward is to keep the embouchure---the lower jaw forward---so that the teeth are parallel. As you slur down you will need to move the jaw slightly downward and perhaps even forward. Getting the "hang of that" is not easy. Also I find that in the last slur from G3 to G2 it is helpful to open the first finger here and put it down. Open it all the way for G3 and put it down for G2. 19
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-7-32-20 Well, using the flick keys is really going to help the clarity of your notes. Careful work on this will greatly help your bassoon playing. 20
Sixth Bassoon Lesson, Part 1 /en/lessons/bdp193/#chapter-7-59-21 Closing Music: "Home Sweet Home" from A Tune a Day, lesson 29 number 6. 21
Sixth Bassoon Lesson, Part 2 /en/lessons/bdp194/ Sixth Bassoon Lesson, Part 2 Use of flick or speaker keys. Studies by A Tune a Day, Use of flick or speaker keys. Studies by A Tune a Day, Rubank, and Paine. By Terry B. Ewell. BDP#194. www.2reed.net/bdp. 0
Sixth Bassoon Lesson, Part 2 /en/lessons/bdp194/#chapter-0-00-01 Intro Music: "Home Sweet Home" from A Tune a Day, lesson 29 number 6. 1
Sixth Bassoon Lesson, Part 2 /en/lessons/bdp194/#chapter-0-14-02 Let's start by looking at the new fingerings in this lesson. 2
Sixth Bassoon Lesson, Part 2 /en/lessons/bdp194/#chapter-0-21-03 F2 (Low F), Bb2 (Bb below open F), Bb3 (Bb above open F) and C4. 3
Sixth Bassoon Lesson, Part 2 /en/lessons/bdp194/#chapter-0-45-04 I highly recommend the materials created by Professor Kristen Wolfe Jensen on the website "Music and the Bassoon." She has supplied a website with studies, suggested fingerings, sound files, and helpful videos. To support the materials in this lesson I suggest you look at videos and materials in units 20 and 25 on flicking. Music and the Bassoon 4
Sixth Bassoon Lesson, Part 2 /en/lessons/bdp194/#chapter-1-15-05 Now, let's explore some more studies on flicking and other materials that expand your range. 5
Sixth Bassoon Lesson, Part 2 /en/lessons/bdp194/#chapter-1-24-06 Now, let's take a look at Rubank lesson 6, number 5. I picked the third line because there are several flicked notes in a row. When you have several flicked notes in a row, you don't have to flick them individually, particularly if it is very fast. You can hold down the C speaker key. 6
Sixth Bassoon Lesson, Part 2 /en/lessons/bdp194/#chapter-1-48-07 Let me do this first for you with each note flicked. Example: Rubank lesson 6, number 5. 7
Sixth Bassoon Lesson, Part 2 /en/lessons/bdp194/#chapter-2-14-08 Here it is with the C speaker key held down for flicked notes that are adjacent to each other. Example: Rubank lesson 6, number 5. 8
Sixth Bassoon Lesson, Part 2 /en/lessons/bdp194/#chapter-2-44-09 This technique works very well, particularly for rapid notes. 9
Sixth Bassoon Lesson, Part 2 /en/lessons/bdp194/#chapter-2-51-10 Let's go on to A Tune a Day lesson 15, number 7. This etude I will also just depress the C key for the first three measures instead of flicking each note separately. Example: A Tune a Day lesson 15, number 7. 10
Sixth Bassoon Lesson, Part 2 /en/lessons/bdp194/#chapter-3-25-11 Now, under the French Folk Song and many of the other melodies contained in A Tune a Day you will see some directions: "Think Count 1 2 3" or whatever numbers are given. 11
Sixth Bassoon Lesson, Part 2 /en/lessons/bdp194/#chapter-3-41-12 Now when I play I don't think of numbers, rather, I hear pulses. I think this is a more successful way to play. Sometimes it is confusing to try to get the numbers in sequence while you are playing. The important thing, however, is that you are hearing the beats. 12
Sixth Bassoon Lesson, Part 2 /en/lessons/bdp194/#chapter-4-02-13 This next study, by Paine Etude number 14, introduces low F or F2. I will play the last line for you. Example: Paine Etude 14. 13
Sixth Bassoon Lesson, Part 2 /en/lessons/bdp194/#chapter-4-45-14 Make sure that you hold of the notes to full value, including the last whole note. That should be held for four full counts. Thank you, bye. 14
Sixth Bassoon Lesson, Part 2 /en/lessons/bdp194/#chapter-4-59-15 Closing Music: "Home Sweet Home" from A Tune a Day, lesson 29 number 6. ------------------------------------------------------------------------ Copyright (c) 2016 By Terry B. Ewell. All rights reserved. 15
Seventh Bassoon Lesson, Part 1 /en/lessons/bdp195/ Seventh Bassoon Lesson, Part 1 Dynamics and long tone exercises. By Terry B. Ewell. Dynamics and long tone exercises. By Terry B. Ewell. BDP#195. www.2reed.net/bdp. 0
Seventh Bassoon Lesson, Part 1 /en/lessons/bdp195/#chapter-0-00-01 Intro Music: "Home Sweet Home" from A Tune a Day, lesson 29 number 6. 1
Seventh Bassoon Lesson, Part 1 /en/lessons/bdp195/#chapter-0-14-02 Welcome! Well, generally this is the first point in the lesson plans that I begin talking about dynamics. I have a reason for delaying the talk about dynamics until the student is well established, understanding the fundamentals of air support, embouchure, and playing a good, healthy forte sound. That healthy forte sound is the "home base" (if you want to talk about that) for the other dynamics. If students don't understand proper support and an open embouchure, they will have difficult playing the quieter dynamics properly. 2
Seventh Bassoon Lesson, Part 1 /en/lessons/bdp195/#chapter-1-09-03 Generally a good forte is with full air support, with the embouchure dropped, and more of an "ah" vowel. We will be talking about this later in our lessons. 3
Seventh Bassoon Lesson, Part 1 /en/lessons/bdp195/#chapter-1-24-04 Now let's practice some long tone exercises with dynamics. We will start with forte, then diminuendo, and then crescendo back to forte. Let's set the metronome to 60, a beat equals 60. Let's practice this with three counts in each phase of the exercise. 4
Seventh Bassoon Lesson, Part 1 /en/lessons/bdp195/#chapter-1-24-05 Example: forte to piano to forte. 5
Seventh Bassoon Lesson, Part 1 /en/lessons/bdp195/#chapter-2-10-06 Now let me do the other exercise: 6
Seventh Bassoon Lesson, Part 1 /en/lessons/bdp195/#chapter-2-10-07 Example: piano to forte to piano. 7
Seventh Bassoon Lesson, Part 1 /en/lessons/bdp195/#chapter-2-28-08 The object of the exercise is to maintain a steady pitch throughout all of the dynamics. 8
Seventh Bassoon Lesson, Part 1 /en/lessons/bdp195/#chapter-2-38-09 When you have mastered three counts per measure, add another count---four counts. Then five, six, etc. throughout the range of the instrument so that you understand that every note on the bassoon is a little bit different. 9
Seventh Bassoon Lesson, Part 1 /en/lessons/bdp195/#chapter-2-56-10 An even greater challenge than playing this exercise on the bassoon is playing it on a bassoon bocal with just the reed. This is well worthwhile practicing because it helps you to focus even more on embouchure and air balance. Let me again set my metronome to 60. 10
Seventh Bassoon Lesson, Part 1 /en/lessons/bdp195/#chapter-3-17-11 Let's again do this for three counts. 11
Seventh Bassoon Lesson, Part 1 /en/lessons/bdp195/#chapter-3-17-12 Example: forte to piano to forte. 12
Seventh Bassoon Lesson, Part 1 /en/lessons/bdp195/#chapter-3-37-13 And now starting piano and crescendoing. 13
Seventh Bassoon Lesson, Part 1 /en/lessons/bdp195/#chapter-3-37-14 Example: piano to forte to piano. 14
Seventh Bassoon Lesson, Part 1 /en/lessons/bdp195/#chapter-3-58-15 There are subtle differences that occur in my embouchure. Not only is my embouchure opening up for forte, but I find that my embouchure goes slightly closer to the wires for forte. 15
Seventh Bassoon Lesson, Part 1 /en/lessons/bdp195/#chapter-4-15-16 Then when I play piano the embouchure closes and I pull the reed out slightly. 16
Seventh Bassoon Lesson, Part 1 /en/lessons/bdp195/#chapter-4-22-17 Gaining mastery over dynamics will help you convey musical gestures. This will help you to play musically. 17
Seventh Bassoon Lesson, Part 1 /en/lessons/bdp195/#chapter-4-32-18 If you want to learn more about playing musically, please see my many videos on phrasing. Several of them are linked on my website 2reed.net. Phrasing 18
Seventh Bassoon Lesson, Part 1 /en/lessons/bdp195/#chapter-4-59-19 Closing Music: "Home Sweet Home" from A Tune a Day, lesson 29 number 6. ------------------------------------------------------------------------ Copyright (c) 2016 By Terry B. Ewell. All rights reserved. 19
Seventh Bassoon Lesson, Part 2 /en/lessons/bdp196/ Seventh Bassoon Lesson, Part 2 Dynamics and phrasing. Studies by A Tune a Day, Rubank, Dynamics and phrasing. Studies by A Tune a Day, Rubank, and Weissenborn. By Terry B. Ewell. BDP#196. www.2reed.net/bdp. 0
Seventh Bassoon Lesson, Part 2 /en/lessons/bdp196/#chapter-0-00-01 Intro Music: "Home Sweet Home" from A Tune a Day, lesson 29 number 6. 1
Seventh Bassoon Lesson, Part 2 /en/lessons/bdp196/#chapter-0-13-02 So let's now apply our use of crescendo and diminuendo to musical examples. Changing the volume of the music gives direction to the music, the musical motion. This is what we call musicality. "Crescendoing," "diminuendoing" is one part of musicality. We need to master that. So let's look at these examples here. 2
Seventh Bassoon Lesson, Part 2 /en/lessons/bdp196/#chapter-0-43-03 Rubank Lesson 7, number 6 features four measure phrasing. I am going to aim to go to measure 3 in this first line. Example: Rubank Lesson 7, number 6. 3
Seventh Bassoon Lesson, Part 2 /en/lessons/bdp196/#chapter-1-27-04 In what we call Common Practice music, that is music from Western Europe and even America, you find that in the Classical, Romantic, and even the 20th century; you find even measures of phrases. That is two, four, or even eight measures. These tend to be most typical. 4
Seventh Bassoon Lesson, Part 2 /en/lessons/bdp196/#chapter-1-51-05 In the first one in Rubank we had four measure phrases. I phrased to the middle of that phrase. It is usually towards the middle or near the end of the phrase that you will find the arrival point or the climax. 5
Seventh Bassoon Lesson, Part 2 /en/lessons/bdp196/#chapter-2-06-06 In this A Tune a Day lesson 16, number 5 we will see that "Yankee Doodle" is set up as two two-bar phrases followed by a four bar phrase. So I am going to phrase in that way. Creating nice unified gestures. Example: A Tune a Day lesson 16, number 5. 6
Seventh Bassoon Lesson, Part 2 /en/lessons/bdp196/#chapter-2-48-07 Did you notice that my phrases, the arrival points coincided with downbeats. That is fairly typical. We find usually that the highlight (goal) of the phrase often is metrically stressed. A downbeat is metrically stressed or even harmonically stressed. Often in Common Practice music there will be chord changes, very significant changes, that occur on downbeats. 7
Seventh Bassoon Lesson, Part 2 /en/lessons/bdp196/#chapter-3-14-08 Now the last one I want to play for you is from the Weissenborn, Bassoon-School, page 10, Minuetto. Now, this is interesting. We have four bar phrases, but we have upbeats into the phrases. This is also what we can an "anacrusis." Upbeat. So our four bar phrases instead of coinciding with measure lines, they are just a little bit askew. They start one beat early and end one beat early. 8
Seventh Bassoon Lesson, Part 2 /en/lessons/bdp196/#chapter-3-50-09 Here is the first line of that: Example: Weissenborn, Bassoon-School, page 10, Minuetto. 9
Seventh Bassoon Lesson, Part 2 /en/lessons/bdp196/#chapter-4-05-10 Let me play that for you slowly. Example: Weissenborn, Bassoon-School, page 10, Minuetto. 10
Seventh Bassoon Lesson, Part 2 /en/lessons/bdp196/#chapter-4-34-11 Music is like conversation. It has meaning to it. It has gestures; it has motion. So, try to speak through your music. 11
Seventh Bassoon Lesson, Part 2 /en/lessons/bdp196/#chapter-4-44-12 As you become more familiar with music, you will learn where to phrase in the music. A good place to start your understanding of phrasing is with my video for Weissenborn's Study #38. Weissenborn Study #38 12
Seventh Bassoon Lesson, Part 2 /en/lessons/bdp196/#chapter-4-59-13 I also have videos in three languages on phrasing that are linked on my website 2reed.net. Check them out: Phrasing 13
Seventh Bassoon Lesson, Part 2 /en/lessons/bdp196/#chapter-5-10-14 Closing Music: "Home Sweet Home" from A Tune a Day, lesson 29 number 6. ------------------------------------------------------------------------ Copyright (c) 2016 By Terry B. Ewell. All rights reserved. 14
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/ Eighth Bassoon Lesson, Part 1 Articulation: stopping with the tongue, stopping with the air and embouchure, also hard and soft stops with the tongue. Practice technique: tongued diminuendo. New fingering, Eb3. By Terry B. Ewell. Bassoon Digital Professor video #197. www.2reed.net/bdp. Articulation: stopping with the tongue, stopping with the air and embouchure, also hard and soft stops with the tongue. Practice technique: tongued diminuendo. New fingering, Eb3. By Terry B. Ewell. BDP#197. www.2reed.net/bdp. 0
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-0-00-01 Intro Music: "Home Sweet Home" from A Tune a Day, lesson 29 number 6. 1
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-0-15-02 In this lesson we will continue our work with long tones and dynamics. Dynamics are controlled with the wind. Articulation is most often controlled with the tongue. These two—the wind and tongue—can operate independently. They do not need to be linked. Often I find a common problem: articulation by many students is linked to the wind and not just the tongue. 2
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-0-51-03 Let’s illustrate this by having a “broken crescendo.” 3
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-0-51-04 Example: broken crescendo stopped with the tongue. 4
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-1-07-05 I stopped each portion of that crescendo with my tongue. Now notice that the effect is very different if I try to make the crescendo by stopping with the air. 5
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-1-07-06 Example: broken crescendo stopped with the air and embouchure. 6
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-1-28-07 With an air and embouchure stop to each note, the motion is halted a bit. That is OK if that is the effect you want. However, if you want to really direct the musical motion through separated notes, then use just the tongue for articulation. This is more effective. 7
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-1-48-08 I have a video on “Playing on the Wind” that talks about this more. Playing on the Wind 8
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-1-58-09 Let’s illustrate this method of articulation and musical shaping in Weissenborn page 12. 9
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-2-05-10 First I will play the last two measures and then I will give the same gesture by playing the first two measures. 10
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-2-05-11 Examples from Weissenborn page 12, Moderato. 11
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-2-27-12 Notice that I shape the gesture with the wind. It is with my air, it is with my dynamics that the gesture, the phrase is shaped. The articulation I am shaping with the tongue. In these last two measures I use a legato tongue separating the pairs of eighth notes. In the first two measures I separate the staccato with my tongue as well. Let me play that again. Examples from Weissenborn page 12, Moderato. 12
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-3-08-13 Did you notice that I didn’t change my embouchure or air (between the two). I kept them the same, I just changed the contact of the tongue on the reed. 13
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-3-20-14 Now I find that some students can’t do this immediately. They have conditioned themselves to like the tongue with the embouchure and the air in every articulation. Hopefully you can avoid that bad habit. 14
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-3-35-15 I will play for you again that last gesture, the last two measures, again followed by the first. Examples from Weissenborn page 12, Moderato. 15
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-3-55-16 Now, if you don’t remember the difference between the tongued stop of the notes vs. the stop of embouchure and air, please review my third video in these bassoon lessons. That is BDP #33. 16
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-4-17-17 Now tongued stops on the reed can vary. I can stop a note quite abruptly. 17
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-4-17-18 Example of hard, abrupt stops. 18
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-4-34-19 Or I can stop it less suddenly. Example of soft, slower stops. 19
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-4-43-20 In fact if you gain enough control of your tongue on the reed, you can even create a tongued diminuendo. Example of diminuendo with the tongue only. I am stopping the reed with my tongue. 20
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-4-57-21 Let’s stop here for a moment and let me explain this concept further. I only demonstrate here the tongued decrescendo or diminuendo for the purposes of practice. For you to learn to control your tongue on the reed. I never do this slow stop in performances. However, the soft stops of notes are really just tongued diminuendos occurring faster. So if you learn to master this slower stop of the notes with the tongue then you will gain control of the stops of the notes at a quicker tempo. So I encourage you to practice this exercise and practice the timing of your stops: shorter or slower. 21
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-5-54-22 Now when your tongue hits the reed you can make it more abrupt by tonguing right in the center of the reed. 22
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-6-02-23 You can make it less abrupt by tonguing more towards the edge. In this case my reed is at a little bit of a slant. I can tongue the lower right hand corner. 23
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-6-02-24 Example of legato (right hand corner) tonguing. That gives very smooth tonguing. 24
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-6-20-25 So experiment with where your tongue contacts the reed for more subtle articulation. 25
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-6-27-26 Now, I can also stop with the air and embouchure. Example of air and embouchure stops. 26
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-6-39-27 Learning to vary your articulations will prepare you for much greater musical expression. You need to master all of these techniques so that you will have the widest range of articulations available. 27
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-6-49-28 Well Eb3 on the bassoon deserves special attention. It is what is considered a “forked fingering” because a finger is skipped. 28
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-7-06-29 Here we have one finger down, one finger down, this finger is skipped. 29
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-7-12-30 Here are two standard fingerings for Eb3. Choose one of these two fingerings that has the best sound and intonation for you. For fast passages I use this Eb fingering. 30
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-7-33-31 Keep on practicing! Just a few more lessons in this series left. Bye. 31
Eighth Bassoon Lesson, Part 1 /en/lessons/bdp197/#chapter-7-39-32 Closing Music: "Home Sweet Home" from A Tune a Day, lesson 29 number 6. ------------------------------------------------------------------------ Copyright (c) 2016 By Terry B. Ewell. All rights reserved. 32
Eighth Bassoon Lesson, Part 2 /en/lessons/bdp198/ Eighth Bassoon Lesson, Part 2 Dynamics and embouchure positions. Studies by A Tune a Day Dynamics and embouchure positions. Studies by A Tune a Day and Rubank. By Terry B. Ewell. BDP#198. www.2reed.net/bdp. 0
Eighth Bassoon Lesson, Part 2 /en/lessons/bdp198/#chapter-0-00-01 Intro Music: "Home Sweet Home" from A Tune a Day, lesson 29 number 6. 1
Eighth Bassoon Lesson, Part 2 /en/lessons/bdp198/#chapter-0-12-02 Now let's talk about playing quietly on the bassoon. In my first days as a student I had a lot of trouble playing quietly. Teachers told me "don't pinch the reed." They were right, this doesn't sound very good. Example sound with the reed pinched. 2
Eighth Bassoon Lesson, Part 2 /en/lessons/bdp198/#chapter-0-33-03 I agree, we shouldn't do that! 3
Eighth Bassoon Lesson, Part 2 /en/lessons/bdp198/#chapter-0-40-04 But how do you play quietly without closing the embouchure on the reed. Well, actually you do need to close the embouchure on the reed. You need have the proper balance of air and embouchure in order to play quietly. 4
Eighth Bassoon Lesson, Part 2 /en/lessons/bdp198/#chapter-0-57-05 Here are a few steps that will be most helpful for students to play quietly on the bassoon: 5
Eighth Bassoon Lesson, Part 2 /en/lessons/bdp198/#chapter-1-04-06 1) A good sound will always have maximum air flow. Always support the sound well. 6
Eighth Bassoon Lesson, Part 2 /en/lessons/bdp198/#chapter-1-14-07 2) When you close the reed with the embouchure, consider cushioning the reed more---putting more lip surface on the reed. 7
Eighth Bassoon Lesson, Part 2 /en/lessons/bdp198/#chapter-1-24-08 3) Also pulling the reed out of the mouth slightly will also dampen the reed and give it a darker sound. 8
Eighth Bassoon Lesson, Part 2 /en/lessons/bdp198/#chapter-1-33-09 Let me explain a bit more how the surface area of the reed, the vibrating portion of the reed affects the volume. Think of the reed as a noise maker. The more you have vibrating, the louder the noise. The more surface that is vibrating, the louder the reed will become. 9
Eighth Bassoon Lesson, Part 2 /en/lessons/bdp198/#chapter-2-00-10 In this figure I have the lips placed very close to the first wire. This means that almost all of the reed blade is vibrating. Where the lips are in contact, however, the vibration is dampened. But most of it is vibrating with the exception of the edges of the blade---the rails---are not vibrating. You can see that the aperture is very open here. It is only the very edges, the corners of the reed blade that are not vibrating. 10
Eighth Bassoon Lesson, Part 2 /en/lessons/bdp198/#chapter-2-39-11 Now here is an example of the least vibrating area of the reed. The lips are slip right up to the edge of the blade where the aperture is. So everything beyond the lips towards the first wire receives some dampening. We only have the portion of the reed that in the front of the lips, the portion inside of the mouth that is vibrating. With the lips pressed down a little bit more you can see that that the aperture is very small. So it is only in the white area that we see vibration. You see dampening for the rest of the reed. 11
Eighth Bassoon Lesson, Part 2 /en/lessons/bdp198/#chapter-3-26-12 There is a contrast between the two: The least vibrating area where the lips are towards the tip and the most surface area vibrating where the lips are toward the first wire. 12
Eighth Bassoon Lesson, Part 2 /en/lessons/bdp198/#chapter-3-42-13 Now the normal position of my lips on the reed is more toward the middle of the reed. This allows me to change the timbre and by altering my lip position a little bit I can also change volume. Earlier in lesson 8a, in the Weissenborn page 12 you could see how I changed my lip positions a little bit on the reed and therefore alter the dynamics and the timbre of the tone. 13
Eighth Bassoon Lesson, Part 2 /en/lessons/bdp198/#chapter-4-15-14 Example from Weissenborn, p. 12. 14
Eighth Bassoon Lesson, Part 2 /en/lessons/bdp198/#chapter-4-37-15 Now, let's apply the concepts for dynamics and musicality to this duet from Rubank's Elementary Method. This is lesson 8 number 6. 15
Eighth Bassoon Lesson, Part 2 /en/lessons/bdp198/#chapter-4-45-16 I will use the musical shaping that I have given in red. Example, Rubank Lesson 8, #6. 16
Eighth Bassoon Lesson, Part 2 /en/lessons/bdp198/#chapter-5-43-17 Now in A Tune a Day lesson 21 number 7 let's practice some more phrasing. It at all possible, don't breathe after bar 4. It is easiest to play this play this composition more in 1 than a slower 3. 17
Eighth Bassoon Lesson, Part 2 /en/lessons/bdp198/#chapter-6-49-18 What a lovely song that is. One of the things I like most about A Tune a Day is that it has some beautiful melodies from the European and American traditions. It is just enjoyable to play some of these beautiful melodies. 18
Eighth Bassoon Lesson, Part 2 /en/lessons/bdp198/#chapter-7-07-19 Closing Music: "Home Sweet Home" from A Tune a Day, lesson 29 number 6. ------------------------------------------------------------------------ Copyright (c) 2016 By Terry B. Ewell. All rights reserved. 19
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/ Ninth Bassoon Lesson, Part 1 Using vowels for pitch control; bassoon registers and Using vowels for pitch control; bassoon registers and voicing. By Terry B. Ewell. BDP#199. www.2reed.net/bdp. 0
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-0-00-01 Intro Music: "Home Sweet Home" from A Tune a Day, lesson 29 number 6. 1
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-0-15-02 By this time you are aware of a couple ways to control the pitch on the bassoon. 2
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-0-21-03 Remember the articulation experiments in lesson 3, BDP #33? In those experiments we charted the pitch response of more and less air and changes in the embouchure. 3
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-0-36-04 If you need to review this, here are the links for English and Chinese versions: English: Lesson 3, BDP #33 Chinese: Lesson 3, Chinese version 4
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-0-42-05 In this lesson I will introduce a third pitch control component: changes in vowels. This is also called "voicing." 5
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-0-55-06 The best way to illustrate this is to pick a rather unstable note on the bassoon, Bb3. Let's change the vowel in our mouth from "ee" to "ah." 6
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-1-08-07 "Ee" as in teeth and "ah" as in awful. When I play the note I don't speak the vowel rather I just move my tongue. I will try to do this without moving my jaw. 7
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-1-22-08 Example of changes in pitch with vowel changes on Bb3. 8
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-1-31-09 Did you hear the difference in the pitch? Well, obviously. The "ee" vowel has a higher pitch than the "ah" vowel. 9
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-1-40-10 Now the "ah" and the "ee" vowels represent the extremes, the outer edges of that vowel spectrum, voicing spectrum. There are other vowels in between the two. I think that the one that best describes the middle ground is "oo" as in tooth or the German umlaut "ü." It is something in between the two (extremes). 10
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-2-06-11 Let's just practice that. Put your teeth together and practice going from "ah" to "oo" to "ee" and back and forth. 11
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-2-18-12 Example of "ah" -- "oo" -- "ee". It is hard not to move your lips there, isn't it? 12
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-2-32-13 If you cannot move your embouchure, your lips here and transition through those vowels, you get a real good idea of the different tongue positions that are possible. 13
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-2-43-14 Now the bassoon has registers that move from darkest vowels---I will call "ah" the darkest vowel---to the brightest vowel "ee." The lowest note you have learned so far is F2. 14
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-2-59-15 F2 definitely needs that "ah," that darker vowel. It keeps down the pitch and opens up the resonance. 15
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-3-09-16 As we move through that first register of the bassoon up to E3, we tend to move through and to brighter vowels. When I thinkg about it, I am not really quite at an "ee" vowel when I get to E3. Maybe it is more of an "oo," the transitional vowel. 16
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-3-30-17 But when I get to F, F3, that tends to be a sharper note on my instrument so I have to drop back to a darker vowel, more of an "ah" vowel. Certainly the F#3 and G3 need to have that darker vowel that really drops the pitch. These are very sharp notes on our instrument. 17
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-3-53-18 Then very quickly for this new register, for the second register on the bassoon, I move up through the "oo" vowel. That is probably on the A. By Bb and certainly C4, which is flat, I am using the "ee" vowel. 18
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-4-12-19 So there are transitions. There is movement from the notes you know so far, from F2 up to E3. Starting again on F3 through the next register: "ah" through "oo" to "ee." 19
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-4-31-20 Let me play an F major scale, one and a half octaves, to illustrate the changes. 20
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-4-31-21 Example: F major scale with vowel changes. 21
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-5-09-22 Part of your development as a bassoonist will be to use your ear to tune each note, get a great sound, and get the maximum resonance on the note. 22
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-5-20-23 Listening to how embouchure, air, and vowels change each note will help you do this. 23
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-5-27-24 Now, this is going to take you many years to develop that full sound and have a great sound at all of the dynamics. 24
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-5-34-25 Keep in mind that the vowel changes, the voicings, can be a significant tool to use for tuning and also for color changes. 25
Ninth Bassoon Lesson, Part 1 /en/lessons/bdp199/#chapter-5-46-26 Closing Music: "Home Sweet Home" from A Tune a Day, lesson 29 number 6. ------------------------------------------------------------------------ Copyright (c) 2016 By Terry B. Ewell. All rights reserved. 26
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/ Ninth Bassoon Lesson, Part 2 Comments on bassoon pedagogy and the presentation of Comments on bassoon pedagogy and the presentation of teaching in the 200 BDP videos. Application of vowels or voicing to studies by Henry Paine, A Tune a Day, and Rubank. By Terry B. Ewell. BDP#200. www.2reed.net/bdp. 0
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-0-00-01 Intro Music: "Home Sweet Home" from A Tune a Day, lesson 29 number 6. 1
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-0-12-02 Well, I am grateful to recognize that this video marks the 200th video that I have made in the Bassoon Digital Professor Series. 2
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-0-27-03 I don't know if there will be another hundred coming because in these first two hundred I really have set out my pedagogy, my approach to teaching the bassoon. 3
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-0-40-04 I want to bring to your attention that there is a website, www.2reed.net/bdp, that has all of my materials and videos. 4
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-0-49-05 It lays out the videos in a suggested order for your study. 5
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-0-58-06 Primarily the twenty or so videos that are in this beginning bassoonist series followed by the over fifty videos that are in the Weissenborn advanced fifty studies series provide the comprehension overview of my teaching methods. 6
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-1-21-07 I hope that you will view those in order and that you will have an idea of what I consider fundamental for playing the bassoon. 7
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-1-30-08 I think that you will benefit from that. 8
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-1-32-09 Now, let's move on to the studies in this lesson. 9
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-1-38-10 Henry Paine, page 13, shows vowels for this study. 10
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-1-47-11 See the time signature in this study has a "C" and that means Common Time or 4/4 time. 11
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-1-56-12 He writes there, "Slowly---with full tone; think Ah." 12
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-2-01-13 So it is that "ah" vowel that we mostly use on the bassoon for that fuller tone. 13
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-2-07-14 This is particularly for the lower notes given in this study. 14
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-2-19-15 Example: Paine, p. 13. 15
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-2-53-16 Now I particularly have the sensation as I am going lower on the bassoon in this study that the vowel changes in my mouth and becomes much more that "ah" sound. 16
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-3-05-17 None of these notes necessarily really reaches an "ee," but it moves in that direction (for E3). 17
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-3-14-18 Now in the next study, however, where we have some C4s and Bb3s, I do use the "ee" vowel. 18
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-3-26-19 These notes tend to be quite flat. 19
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-3-28-20 So let's look at the Rubank lesson 9, number 2. 20
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-3-33-21 I am just going to play for you the first few measures here. 21
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-3-38-22 The opening note, that F, has more of an "ah" vowel. 22
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-3-43-23 In measure 4 as I move up to the C natural, I am quickly moving from "ah" up to the "ee" vowel position with my tongue for the C4 and the Bb3 following. 23
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-4-01-24 Example: Rubank lesson 9 #2. 24
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-4-20-25 It is quite complicated playing the bassoon, isn't it? 25
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-4-21-26 You have to remember your flick keys, who have to remember to take off the whisper key, you have to change the vowel position, all of that. 26
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-4-28-27 So take your time. 27
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-4-30-28 Practice the techniques correctly right from the beginning. 28
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-4-33-29 Then you won't have to waste your time later doing that (correcting mistakes). 29
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-4-37-30 So practice carefull flicking of the A3. 30
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-4-40-31 Get up to the C with a flick, this is the C4 in measure 5. 31
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-4-46-32 Make sure that the vowel is an "ee." 32
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-4-49-33 All of that has to happen. 33
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-4-52-34 Let's look at a wonderful melody here, "The Blue Bells of Scotland" from A Tune a Day, page 26. 34
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-5-02-35 Concentrate on your vowels, your phrasing as you are playing this. 35
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-5-06-36 Play with a beautiful sound. 36
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-5-08-37 There isn't a dynamic given here so play it a good mezzo forte, play with a singing sound. 37
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-5-14-38 I don't think those numbers when I count, instead I think of pulses. 38
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-5-25-39 Example: A Tune a Day, p. 26. 39
Ninth Bassoon Lesson, Part 2 /en/lessons/bdp200/#chapter-5-45-40 Closing Music: "Home Sweet Home" from A Tune a Day, lesson 29 number 6. ------------------------------------------------------------------------ Copyright (c) 2016 By Terry B. Ewell. All rights reserved. 40
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/ Tenth Bassoon Lesson, Part 1 Comments on the Ten Lessons. Playing C#3/Db3. By Terry B. Comments on the Ten Lessons. Playing C#3/Db3. By Terry B. Ewell. BDP#201. www.2reed.net/bdp. 0
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-0-00-01 Intro Music: "Home Sweet Home" from A Tune a Day, lesson 29 number 6. 1
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-0-14-02 Well, this is lesson 10 and we are coming to a conclusion in this series. 2
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-0-19-03 Let me just say a few brief points before we go onto the lesson material. 3
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-0-26-04 These ten lessons should not be viewed as a rigid mandate. 4
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-0-31-05 Rather, I have put in order the sequence of pedagogical ideas that I think are best timed for your progress as a student. 5
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-0-46-06 These concepts I present in the ten lessons are foundational, absolutely vital to good bassoon performance technique. 6
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-0-57-07 I hope that you seriously consider them and work on them daily. 7
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-1-03-08 These are so important as principles that I often repeat them with my college students. 8
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-1-09-09 When I play, I think about these principles as well to coach myself into being a better performer. 9
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-1-16-10 When I wrote the article "Teaching the Beginning Bassoonist" in 2000, I incorrectly identified the Weissenborn Bassoon-School as Opus 8 number 1. Teaching the Beginning Bassoonist 10
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-1-28-11 Apparently there is no opus number for this work. 11
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-1-32-12 The Opus 8 number 1 is a different collection of studies. 12
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-1-37-13 The edition of the Bassoon-School that I use is published by Rob. Forberg, distributed by G. F. Peters Corporation. 13
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-1-55-14 As you progress in your studies you may need to know additional fingerings. Please be aware that I supply for free standard fingering on the bassoon on 2reed.net. You may download and print out this PDF. Standard Bassoon Fingerings 14
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-2-09-15 Now let's move to the lesson 10 materials. In a prior video I introduced the difficult fingering Eb3. 15
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-2-15-16 In this lesson I will have another difficult fingering--C#3 or Db3. 16
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-2-26-17 I recommend to you again the website by Professor Kristen Wolf Jensen. She has videos on playing C#3 that are excellent and can be companions to what I give in this video. Music and the Bassoon 17
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-2-47-18 In the English language when we say that someone is "all thumbs" that is usually a comment on how clumsy they are with their hands. 18
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-2-56-19 However, on the bassoon the thumb must be the most agile member of your fingers. 19
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-3-02-20 Particularly the left thumb has incredible things that it needs to do. You have already learned about the flicking that the left thumb needs to do. 20
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-3-09-21 Now you will learn about what the left thumb has to do with the C# key. 21
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-3-14-22 To produce C#3 the left hand thumb must depress three keys. 22
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-3-23-23 Often the music moves step wise to C#3 so you must also learn to roll the thumb to open the correct keys. 23
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-3-30-24 For example, let's take a look at the Weissenborn Bassoon-School on p. 14. 24
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-3-58-25 Notice how I keep the whisper key depressed. 25
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-4-06-26 I don't lift it in the first measure. Instead I roll my thumb back and forth. Similarly in measure 3 I don't lift the thumb. Here it is again. 26
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-4-25-27 This will take a good deal of practice to master this technique. 27
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-4-33-28 But it is absolutely essential if you are going to play smoothly to and from C#3. 28
Tenth Bassoon Lesson, Part 1 /en/lessons/bdp201/#chapter-4-40-29 Closing Music: "Home Sweet Home" from A Tune a Day, lesson 29 number 6. ------------------------------------------------------------------------ Copyright (c) 2016 By Terry B. Ewell. All rights reserved. 29
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/ Tenth Bassoon Lesson, Part 2 Playing C#3/Db3. Review of prior concepts. Time Playing C#3/Db3. Review of prior concepts. Time signatures. Studies by A Tune a Day and Weissenborn. By Terry B. Ewell. BDP#202. www.2reed.net/bdp. 0
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-0-00-01 Intro Music: "Home Sweet Home" from A Tune a Day, lesson 29 number 6. 1
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-0-13-02 Well let's conclude this lesson by playing some examples that emphasize the proper techniques for C#3. 2
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-0-25-03 This first example is from A Tune a Day lesson 19 number 3. 3
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-0-31-04 Again I count pulses not numbers. 4
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-0-35-05 So I don't think of the numbers given here. 5
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-0-38-06 This is in 4/4 time with a quarter note getting a beat. 6
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-0-56-07 Example: A Tune a Day lesson 19, #3. 7
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-1-17-08 The next study is from the Weissenborn Bassoon-School page 14. 8
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-1-20-09 Notice that the time signature is 6/4. 9
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-1-24-10 That means that there are six quarter notes in each measure. 10
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-1-28-11 In this case each quarter note will receive a beat. 11
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-1-33-12 Now a Db is written here instead of a C# but it is still played the same way on the bassoon; it is fingered the same way on the bassoon. 12
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-1-45-13 Example: Weissenborn page 14, Moderato in 6/4. 13
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-2-28-14 Well, the last example I want to play for you illustrates several things. 14
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-2-33-15 Let's discuss the first eight measures from the Weissenborn Bassoon-School page 14. 15
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-2-41-16 First, it illustrates again the correct thumb motion for performing the new C# fingering. 16
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-2-50-17 Notice that I keep the whisper key depressed. 17
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-2-53-18 Second the articulations featured in the study provide a chance for us to practice what we have learned before. 18
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-3-02-19 Most of the notes in the first eight measures I stop with the tongue. 19
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-3-07-20 I play all these tongued notes on the wind, focusing my phrasing toward the downbeat of the fourth measure of each phrase. 20
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-3-19-21 The two notes I stop with the air and embouchure are the last notes of each phrase: the D3 in measure 4 and the A2 in measure 8. 21
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-3-33-22 I have time there to make a nice rounded taper to each of those notes, finishing each phrase. 22
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-3-43-23 Last of all, Alla breve indicates two beats in the measure with the half notes receiving the beat. 23
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-3-51-24 Notice that the time signature has a line through the "C" indicating "cut time." 24
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-3-56-25 I know that this can be a little bit confusing when you first see this. 25
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-4-01-26 So you count in two, again thinking of pulses, two pulses for each measure. 26
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-4-08-27 It is not unusual for half notes to receive beats in music. 27
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-4-13-28 This is quite common, for instance, in marches. 28
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-4-18-29 Example: Weissenborn Bassoon-School page 14, Alla breve. 29
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-4-35-30 Well, our ten lessons now draw to a close. 30
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-4-40-31 I hope that you have learned from them and will continue to improve on the bassoon. 31
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-4-48-32 God bless you! 32
Tenth Bassoon Lesson, Part 2 /en/lessons/bdp202/#chapter-4-51-33 Closing Music: "Home Sweet Home" from A Tune a Day, lesson 29 number 6. ------------------------------------------------------------------------ Copyright (c) 2016 By Terry B. Ewell. All rights reserved. 33
Weber’s Andante and Hungarian Rondo, 1 /en/lessons/bdp189/ Weber’s Andante and Hungarian Rondo, 1 General Observations. General observations on Carl Maria von Weber's Andante e rondo ongarese, J.79. With excerpts from the 1984 television broadcast with the Seattle Youth Symphony Orchestra; Vilem Sokol, conducting. BDP#189. www.2reed.net/bdp. 0
Weber’s Andante and Hungarian Rondo, 1 /en/lessons/bdp189/#chapter-00-00 music: Weber, Andante, last variation Welcome to my comments on this exciting composition by Carl Marie von Weber. I’m Terry Ewell and this is one of my favorite compositions for the bassoon. I first performed the work as a student with the Seattle Symphony Orchestra. Later, as a professional, I gave performances in Hong Kong, Washington State, and Changsha, China. In 2017 I will be performing the work with the Mid-Atlantic Symphony Orchestra under the direction of Julien Benichou. 00:00 1
Weber’s Andante and Hungarian Rondo, 1 /en/lessons/bdp189/#chapter-00-49 The Andante and Hungarian Rondo (Andante e Rondo Ungarese) was first written in 1809 for Carl Maria von Weber’s brother Fritz, who played viola. Later, in 1813, the work was arranged for Georg Friedrich Brandt. Although the bassoon version was penned later, it actually received publication first in 1816. Other than adding measures 56-59 to the bassoon version, the two original versions of the composition are nearly identical. It is safe to say that the composition plays a far more important role in the bassoon repertoire than it does in the viola repertoire. 00:49 2
Weber’s Andante and Hungarian Rondo, 1 /en/lessons/bdp189/#chapter-01-42 Edition of the composition which was published in 1992. William Waterhouse has carefully examined the earliest sources for this publication. I did not have this edition available for my 1984 performance so there will be some differences between the recording at that time and my current performance of the work. The edition on imslp.org has the advantage of being available for free. However, this version contains editor’s additions that depart from the original version. To avoid any copyright violations I will use the imslp version, which is public domain, in these videos. However, I will edit the music with knowledge of the Universal Edition and also include my performance suggestions. 01:42 3
Weber’s Andante and Hungarian Rondo, 1 /en/lessons/bdp189/#chapter-02-44 I am delighted to recommend to you a dissertation by Melissa Kritzer on the work. It is available for free on the Internet. I will be referring to this dissertation many times in the three videos in this series. 02:44 4
Weber’s Andante and Hungarian Rondo, 1 /en/lessons/bdp189/#chapter-03-04 and early nineteenth centuries provide little indication of articulation in their music. Where it is provided, we should do it. But most often the determination of what to slur was left up to the performer. This allows for customization of articulation for the instruments and also for the performers’ taste. My former colleague Rudolf Haken shows many slurs are included in his version of the viola solo. Just compare this to the lack of slurs provided by Weber in the bassoon part. Have you wondered what makes the work “Hungarian?” Melissa Kritzer writes: Today, style hongrois refers to the specific musical language used by Western composers from the mid-eighteenth to the early twentieth-centuries to evoke the performances of Hungarian Gypsies. P. 35 Dr. Kritzer provides further details for the rhythms in the work that evoke this Hungarian flavor. Most of these stylistic references are found in the Rondo movement as noted on page 39 of her dissertation: In addition, other aspects of the Andante refer to musical idioms outside of the Common Practice, European musical traditions. I will discuss this more in the next video. music: Weber, Rondo ending 03:04 5
Weber’s Andante and Hungarian Rondo, 2 /en/lessons/bdp190/ Weber’s Andante and Hungarian Rondo, 2 Andante, Comments on Hungarian Aspects Observations on the Andante. With excerpts from the 1984 television broadcast with the Seattle Youth Symphony Orchestra; Vilem Sokol, conducting. BDP #190. 0
Weber’s Andante and Hungarian Rondo, 2 /en/lessons/bdp190/#chapter-00-00 Welcome, I am Terry Ewell. This is your video on the Andante from Weber’s Andante and Hungarian Rondo. I mentioned in the prior video some of the Hungarian rhythmic aspects of the Rondo. The Hungarian aspects expressed in the Andante are quite different. 00:00 1
Weber’s Andante and Hungarian Rondo, 2 /en/lessons/bdp190/#chapter-00-35 two and is repeated many times. Portions of this movement refer to the Siciliana, which is a 6/8 dance with the dotted eighth, sixteenth, and eighth note rhythm. You can see that rhythm in measures three and five. Now, neither of these rhythmic devices are associated solely with the Hungarian or Gypsy idioms, however, they set the mood that this is a composition that departs from the typical Common Practice composition. The exoticism or “otherness” of the Andante is most persuasively conveyed by its insistence on rhythmic and dissonant stresses off the beat. Notice in the opening that Weber provides accents on the “off beats” of the Lombard rhythms. These rhythms are found in measures two and four and later in the composition. Furthermore the placement of dissonance often avoids strong metrical positions. Let’s examine this more closely by studying the analysis by Dr. Melissa Kritzer on page 76 of her dissertation. My markings are in red in Example 5. In some instances Weber’s dissonances in the melody conform to traditional practice and in several others the dissonances are expressions of exoticism: evoking the Hungarian aspect of the composition. I have circled all of the dissonant notes, that is, the notes that do not match the harmonies given in the accompaniment. In measures 3, 5, and 7 the passing notes of the Siciliana rhythm are not unusual. The large leap in measure 7 is an octave displacement. The unusual features of this melody, however, start in measure 4. Not only does Weber stress with accents weak potions of the beat but he also places dissonances on those notes. Further stressed off-beat dissonances are found in the anticipations at the end of measure 9 and the middle of measure 14. 00:35 2
Weber’s Andante and Hungarian Rondo, 2 /en/lessons/bdp190/#chapter-03-23 Measure 12 provides a temporary reprieve and I give stresses on the beat here. There is a real appoggiatura on the downbeat and then I play the next beat with the same stresses and slurred articulation. Aside from the traditional use of dissonance in the Siciana rhythm and measure 12, it is important to convey the usual placements of these dissonances to the listener. The Db4 in measure 15 (Example 5) is given over the chord of a Neapolitan Sixth. Technically this Db is a consonance with the Neapolitan Sixth. However, the note is so unusual and striking at that point in harmony that I have circled note again showing its emphasis on the offbeat. Although my analysis differs from Dr. Kritzer’s this in no way diminishes the fine research she has done. I concur with her observations that many of the dissonances are strategically placed off the beat in this theme to enhance the exotic and unexpected nature of this melody. Weber presents hypermeter in this melody. Hypermeter is a combination of measures into a larger unit. The blue brackets indicate that two 6/8 measures are combined; the first measure with the Lombard and the second with Siciliana rhythms. Performing the melody (measures 1-13) with 12/8 measures instead of two 6/8 measures will enhance the expression. Thus, each two measures features a slight crescendo and decrescrendo with the climax occurring on the downbeat of the second measure. The pickup to measure 14 breaks with the previous pattern and is presented as a four measure phrase. I add the slurs in the figure to enhance the expression of the melody and also to provide more emphasis to the accents. Tonguing, rather than slurring into the accent, gives the note more emphasis. I tongue the downbeats in measures 7 and 9 to increase my accuracy on those notes. In measure 12 I slur from the appoggiatura downbeat and repeat the same gesture in the next beat from D4 to C4. The Andante movement is in variation form, with four presentations of the theme. In presentations 2 and 4, starting at measures 22 and 60, the bassoon is an accompanist and will need to fit the rapid notes to the melody given in the strings. Remember to follow the hypermeter expression of the melody that I have noted previously. 03:23 3
Weber’s Andante and Hungarian Rondo, 2 /en/lessons/bdp190/#chapter-07-51 The low register articulation can be tricky in this movement. It is even more of a problem in the Weber concerto. The key to both is to use the same air stream and embouchure for the articulated notes as one would use for slurring the same notes. For example, in measure 28 let’s first practice this section slurred. Pay close attention to your embouchure and air stream. Don’t bounce the embouchure around, rather keep it stable as if you were slurring. For instance, for the low C pretend that you are playing low A. This will keep the pitch down and also help you with your air stream. Now just lightly brush the tongue on the reed add light tonguing in order to articulate this. It will sound short enough with the light tonguing on the reed and aiming for those lower pitches will help keep the pitch down I provide musical contrast in measures 39-55 much as I did in the pickup in measure 9 continuing on to measure 13. Longer and more lyrical notes are called for here. Notice that Weber did not include as many accents, and in measure 50 the accents are more like expressive appoggiaturas rather than unexpected exotic notes. Here is a portion of that passage. The third video will explore features of the Rondo. This movement provides an energetic conclusion to the composition. Thank you. 07:51 4
Triple Tonguing for Bassoon /en/lessons/bdp191/ Triple Tonguing for Bassoon Principles and methods for triple tonguing. Presented here is a tonguing technique that goes beyond double tonguing and better fits the articulation patterns with triplets. 0
Triple Tonguing for Bassoon /en/lessons/bdp191/#chapter-00-00 I notice that many bassoon performers limit their tonguing techniques to just two options: single tonguing and double tonguing. The single tonguing stroke starts with the tongue on the reed and then releases, allow the reed to vibrate. I represent that stroke with the “T” consonant The “K” consonant in the double tongue stroke starts with the tongue at the roof of the mouth. It then releases. I have developed several videos and practice materials presenting double tonguing (BDP 18, 19, 20). 00:00 1
Triple Tonguing for Bassoon /en/lessons/bdp191/#chapter-00-52 Practice exercises are available on the Bassoon Digital Professor website: www.2reed.net/bdp. Although many bassoonists use only the single or double tonguing techniques, this is not the case with many of our colleagues who perform other wind instruments. Flute and brass instrument players commonly use single, double, and triple tonguing. I regularly employ even another technique: mixed or combination tonguing. 00:52 2
Triple Tonguing for Bassoon /en/lessons/bdp191/#chapter-01-35 the excerpt from Beethoven’s Fourth Symphony presents that tonguing pattern (BDP# 78-80) #78 #79 #80 You may be asking, “Why go to the trouble of learning different tonguing patterns?” Well, 01:35 3
Triple Tonguing for Bassoon /en/lessons/bdp191/#chapter-01-50 I think that having the right tool for the appropriate job is important. Single, double, mixed, and triple tonguing all sound different and have varied strengths. Matching the best tonguing pattern to the musical passage makes sense. Spending time mastering the different tonguing patterns will give you more options and better results. The study of double, mixed, and triple tonguing will take months or even years, but the effort will be worth it. 01:50 4
Triple Tonguing for Bassoon /en/lessons/bdp191/#chapter-02-27 There are several musical passages with triplets that sound better with triple tonguing. I know that many respected performers and teachers have advocated for using double tonguing over the triplet pattern, but to my ears it does not match well in articulation. With few exceptions, I use triple tonguing for the fast triplet passages. Let's start with examining a few exercises for triple tonguing. All of these exercises and the excerpts mentioned in the video are available on 2reed.net under the triple tonguing section. Here is the link. www.2reed.net/bdp/#triple There are two patterns for triple tonguing. TKT TKT and TTK TTK. The "T" indicates the tongue releasing from direct contact with the reed. The "K" indicates the tongue touching the roof of the mouth with either a "k" consonant or something similar. I only use the first pattern. I haven't yet seen the need to practice the second method of triple tonguing, but there might be instances where this tonguing pattern works the best. All of the tonguing patterns using "K" consonants are best when tongued as lightly and legato as possible. Practice slowly by tonguing lightly and fluidly. Keep the tone going as long as possible with just a quick interruption of the sound. In general, you will need to pull out the reed slightly and give more air for the best tonguing. Using all of these techniques will allow for quickest increases in speed and fluency. 02:27 5
Triple Tonguing for Bassoon /en/lessons/bdp191/#chapter-04-10 tonguing, the use of sprints is indispensable. Sprints are a method of practice where you drive, push the tempo to the last note. Aim for slight increases in speed at each repetition. When the point of failure is reached, reduce the tempo and finish with perfect sets. Several excerpts are provided in the practice materials. I suggest that you practice first each on a single tone, a monotone. Isolate and master the tonguing patterns first and then add the fingers. One of the most challenging solos with triple tonguing is in Weber's Andante and Hungarian Rondo. Please see the video devoted to the Rondo movement for my comments on the articulation at the end of the movement. 04:10 6
Weber’s Andante and Hungarian Rondo, 3 /en/lessons/bdp192/ Weber’s Andante and Hungarian Rondo, 3 Performing the Rondo with Flair. Discussed here are aspects of dynamics, rubato, and articulation. 0
Weber’s Andante and Hungarian Rondo, 3 /en/lessons/bdp192/#chapter-00-00 Welcome, this is Terry Ewell. In order to succeed with this composition, the performer must perform with great enthusiasm, color, and virtuosity. This is not a subtle composition, painted as it were in pastels; rather the colors are bold and adverturesome. The performer needs to express passion, bravado, and even humor. 00:00 1
Weber’s Andante and Hungarian Rondo, 3 /en/lessons/bdp192/#chapter-00-46 For instance, the opening Rondo statement should be played with character. Staccato notes should be short, bringing out the wonderful snap that is so characteristic of articulation on the bassoon. Also dwell on the first of the sixteenth notes slightly. Don’t play even sixteenths. Be sure to play the 32nds as late and as quickly as possible. This also underscores the virtuosity of the performance. 00:46 2
Weber’s Andante and Hungarian Rondo, 3 /en/lessons/bdp192/#chapter-01-48 Dynamic indications in the work are few. Weber indicates several forte dynamics and some fortissimo dynamics. However, not a single piano, mp, mf is included in the composition. Definitely you should add some other dynamics. Sections marked cantabile in the Andante and the Rondo should be played at quieter dynamics. I also like to make dynamic contrast between measures 108-109 and measures 112. I perform the first measure at piano or mp. Then the second group of measures forte. This brings out the humor in this portion of the composition. 01:48 3
Weber’s Andante and Hungarian Rondo, 3 /en/lessons/bdp192/#chapter-03-01 There should be rubato in the composition to indicate the return of sections of the Rondo form and to add “Gypsy” flair. For instance, I signal the return of the Rondo theme in orchestra by slowing down in measure 21; likewise in measure 172. The lead-in in measures 221-222 provided by Weber serves as a little cadenza. Take time in measures 220 and 221. Then accelerate back to tempo in measure 223. The orchestra should also take time in measure 258 to set up the last return of the Rondo them and measure 277 to make the coda seem all the more brilliant. 03:01 4
Weber’s Andante and Hungarian Rondo, 3 /en/lessons/bdp192/#chapter-03-56 There are two places in the composition that I depart from Weber’s markings. In measures 166-167, I view slurs as phrase markings rather than an absence of tonguing. I tongue all of the accented notes to emphasize them better. In measure 173, Weber indicates a trill from Ab2 to B2. I think that this is a misprint. The first trill should be from Ab2 to Bb2, the second trill from G2 to Ab2. 03:56 5
Weber’s Andante and Hungarian Rondo, 3 /en/lessons/bdp192/#chapter-04-36 the end of the Rondo. Let me point you to some resources that I have created that will help you develop different tonguing strokes. Website information on double tonguing. I have several videos and practice aids available on 2reed.net in the Bassoon Digital Professor website. There are links at the top of the page for double tonguing and triple tonguing. Let’s select the link for triple tonguing. I have created a separate video on triple tonguing. On the website is a pdf document with exercises and excerpts. I am not going to present that here again, please review the video on Triple Tonguing, BDP # 191. I will, however, state here that the sound of triple tonguing is not the same of double tonguing imposed over triplets. I strongly advocate that you learn to triple tongue so that you can best present this passage and the other excerpts I discuss in the triple tonguing video. Now let’s discuss the tonguing strokes and slurs I use in the passage. In the first video in the series, General Observations BPD 189, I mentioned several Hungarian gestures that were employed in this movement. Of all of the gestures, the spondee informs my articulations the most. Here is the example of a spondee given by Dr. Kritzer and the next example of repetitions of spondees appearing early in the Rondo. Furthermore, I find spondees in the triple tonguing section of the Rondo and this further influences my articulation. The leaps on strong beats, often octaves, call for upward slurs. Given these slurs I furthermore add some slurs on other strong beats. I prefer to keep the scalar passages all tongued. I think that is sounds more virtuosic that way. However, it is quite reasonable to keep the two slurred and then T T K T pattern going throughout much of the excerpt even through the scales. I break with the use of the triple tongue in two sections, both in the lower register. Please see the notes in the blue boxes. I find it easier to single tongue at the ends of these runs. There are times when you will need to use double or triple tongue in the low register such as in the Jolivet Bassoon Concerto, but this is rather uncommon. When I performed the composition in 1984, I used the Kalmus edition that has triplet sixteenths throughout all of m. 284. The added notes mimicked what was in the viola edition. I now I take the rest there as given in the original. With age I don’t have the same lung capacity so I must be less ambitious. I am sure that there are some that will be asking me to make the entire performance of the television broadcast available. Indeed, I did this for about half a year around 2007. However, the television station would only give me permission to keep it on the World Wide Web for just a few months. So I am just featuring portions of the performance in these videos. Well, I hope that these three videos have helped you in your study of the Weber Andante and Hungarian Rondo. I am praying for God’s blessing in your life as you study of the bassoon. God bless you! Bye. 04:36 6
Performing in a Wind Quintet /en/lessons/bdp81/ Performing in a Wind Quintet Comments on leading and following, playing in tune and together, and rehearsing. Terry B. Ewell and Quintigre (Towson University’s faculty quintet). Comments on leading and following, playing in tune and together, and rehearsing. Terry B. Ewell and Quintigre (Towson University’s faculty quintet) perform portions of Carl Nielsen's Wind Quintet, Op.43. 0
Performing in a Wind Quintet /en/lessons/bdp81/#chapter-00-00 Hello, I am Terry Ewell. Welcome to this first video in this series of videos on performing chamber music in a wind quintet. A wind quintet is sometimes called a woodwind quintet, although generally I prefer the term wind quintet because the French horn or the horn is really a brass instrument. In this video we will be talking about four different aspects of playing chamber music and these [topics] are related to all the instruments in the quintet and not just the bassoon. We will be a discussing how to lead and how to follow. We will be looking at starting and ending together, intonation, and rehearsing. So let's get started here. 00:00 1
Performing in a Wind Quintet /en/lessons/bdp81/#chapter-01-10 more or less) to work together, there has to be in agreement on who will be leading the group; who will be starting a certain passage. Group leadership will often rotate among group members depending upon the music and the demands of the music. For instance, take this passage from the sixth variation of the Nielsen Quintet. In this case the flutist is leader. You will notice that our flute player, the way in which she leads the musicians, gives a breath and a motion so that we start together. So take a look at that. music: Nielsen, Variation 6 You can see that for the group she didn't have to count off "1,2,3" or like that. Instead, the way in which she gestured gave us the tempo and gave us the opportunity to play together. So after much rehearsing together, and much of our experience as professionals, we were able place the notes together, how to put it together, so we started that particular variation simultaneously. Let's look at that again and look closely at the gestures she gives that make this successful. music: Nielsen, Variation 6 01:10 2
Performing in a Wind Quintet /en/lessons/bdp81/#chapter-03-00 you will need to gesture in different ways. The bassoon, because I have it anchored with a neck strap or body harness and seat strap, I am not able to raise up and down the instrument. So unlike the flute where she can raise up or down the instrument, I way I would gesture is by rotating in this way and breathing. note: Giving a motion like that. note: Depending on your instrument whether it is a clarinet, or oboe, or horn you will have to gesture in a way that is comfortable, where you can keep your embouchure fixed to your instrument and yet still give that breath and gesture that will make it successful. Now in this other variation the clarinetist is the leader and this is a Variation Five. In this case I as the bassoonist am watching him for his gestures to start a movement and then again I am following because he is the one setting the tempo. Have a listen to this. music 03:00 3
Performing in a Wind Quintet /en/lessons/bdp81/#chapter-04-44 is internalizing, hearing in your mind, what the tempo will be prior to actually starting. Let me give an example of that. In the opening of the Nielsen the tempo is given by the bassoon. So I'm the leader of this section the other people will have to follow when they enter little later. One way I found very effective for setting tempo is thinking of fastest notes and the set the tempo from these notes. For instance, let's look at the passage. In measure three I have 16th notes. So if I can imagine in my mind, hear those 16th votes, and set the tempo with the 16th notes , then I will be effective at starting the 8th notes or slower notes in the opening. So I'm thinking first of <music> Thinking of those 16th notes there...da.da.da.da.... and that gives me the tempo. music That gives me the tempo for the opening. This then is a successful way in which I've had and many others have had for setting tempo. music: Opening to the Nielsen Quintet 04:44 4
Performing in a Wind Quintet /en/lessons/bdp81/#chapter-06-18 Another important aspect of playing chamber music is playing in tune. Let me give you some ideas on playing in tune. Obviously you listen very critically to yourself, to others, and to seek to match pitch. That is very good. Sometimes it is very helpful to have referential pitch, and by that I mean a drone or a sounding pitch that you can then match. You can find on 2reed.net some links for droning pitches that you can use. But the other thing is that you can also have someone in your group to be the drone. For instance, have someone in your group play a sounding pitch and hold it out. For instance, a "C" and the rest of you come in with other members of the C chord. The first is playing the drone and the others come in "di off di off di off." So you are practicing your articulation together as well as your pitch together. You can practice this in different octaves. Work on the blend. Listen to how the chords sound. You may--from your music--pick certain chords that are difficult. Just practice those together. All of that would be helpful for your chamber music. 06:18 5
Performing in a Wind Quintet /en/lessons/bdp81/#chapter-07-38 about effective rehearsing. The quality of your performances as a group is going to depend on your ability to work together in your rehearsals. The more effective you at rehearsing, conversing with a one another, listening to one another, the better your performances will be. Let me give your some insights into that. If you playing a duet, this is with two of people, it's easier to come to consensus than it is with three people. I find by adding a person, exponentially the difficulty of coming to agreement as a group, the group dynamics become far more complex. So just keep that in mind. When you have five people, that's a good size group, You have five different personalities and opinions. I encourage you, when you express your opinions to others do so in a way that is not threatening. For instance, let's say we have a [musical] dialog, and I wasn't together with the clarinet and we didn't see "eye to eye," we didn't play together. So instead of me saying, "I think you are wrong in this place." I would instead say: "I wasn't with you in that place." "Could we do that again together?" For instance, if we weren't together in pitch and I was so out of tune or someone was out of tune; I would way "I didn't quite match your pitch in that place. Could we try that again?" "Could we try to match the pitch better?" Be supportive as a colleague and be appreciative. Be sure that complement others. That goes a long way! When somebody does something well, then be sure to express your opinion and tell them how well did. Who knows? They might tell you how well you did as well. And you will find playing chamber music that much more an enjoyable experience. God bless you. 07:38 6
Playing Bassoon in a Wind Quintet /en/lessons/bdp82/ Playing Bassoon in a Wind Quintet Comments on how a bassoon can blend in the ensemble. Comments on leading and following, playing in tune and together, and rehearsing. Terry B. Ewell and Quintigre (Towson University’s faculty quintet). 0
Playing Bassoon in a Wind Quintet /en/lessons/bdp82/#chapter-00-00 Hello, welcome to this video on playing bassoon in a wind quintet. I am Terry Ewell and I welcome you to the second video in this series. In this video we will be discussing the unique role the bassoon has in the wind quintet. First, of course, the bassoon is the lowest sounding of the five instruments and therefore usually carries the bass line in the quintet. That is a very important functional role. But in addition to that, and this is what I want to concentrate most on in this video, the bassoon is a bit of a chameleon. It has this ability to blend with the other instruments in unique ways that the other instruments don’t have. I will talk to you in this video about how to enhance that ability, that ability blend in terms of vibrato, in terms of timbre, and in terms of articulation. You might say that the bassoon and oboe comprise the majority instrumentation in the wind quintet. There are two double reed instruments in the wind quintet, one single reed instrument, one flute that doesn’t have a reed at all, and there is one brass instrument. There is a sense in which the bassoon is part of the majority. But the oboe itself has such a unique sound that it doesn’t necessarily blend with the other instruments. 00:00 1
Playing Bassoon in a Wind Quintet /en/lessons/bdp82/#chapter-00-48 you can do on the bassoon to blend with the flute, actually both upper winds. There are things you can do to blend with the clarinet; things you can do to blend with the horn. Now most important for blending with the clarinet and the horn is the fact that typically they are played without vibrato. So if you as a player want to match them more closely, then you need also to play without vibrato or hold your vibrato to a minimum. Take for instance, the start of the second movement with the clarinet. In this case I am background to the clarinet, the clarinet takes the lead. I purposely play with very little vibrato, if at all, so that I am matching the clarinet sound. music: Nielsen Quintet, II. 00:48 2
Playing Bassoon in a Wind Quintet /en/lessons/bdp82/#chapter-03-16 Now you can probably observe even more, in Variation 1 with the horn, how I am trying to match the horn. I minimize my vibrato so I match the sound quality of the horn. Here is Variation 1 music: Nielsen Quintet, III, Variation 1 But I go beyond matching the horn by not using vibrato; I try to match the horn in timbre. By doing so, I am trying to get as dark a sound on the bassoon as I can—without a lot of reediness to it—but with a full, rich, sound. The way in which we can adjust to the other instruments is by adjusting the vowel in our mouth. With the horn I use the darker vowel, “ah;” to get a lighter sound I would use the “ee” vowel. I am not voicing it in my mouth, but I am changing the tongue position. I use the “ee” vowel when I want to blend with the upper winds—flute and oboe. In addition I make adjustments in the embouchure. I want to bring to your attention an article I wrote that goes into far more detail. First off, the book is Celebrating Double Reeds. This was published by the International Double Reed Society. I highly recommend the book. I was editor of the book as well as an author of a couple of articles. The article I want to refer you to deals with the embouchure on the bassoon. This for instance, is one of the figures in the presents the bassoon reed and the embouchure positions on the bassoon reed. I don’t have time to go into full detail here, but let me demonstrate here. If we have your bassoon reed and let’s pretend that this is your embouchure. The further your embouchure is towards the wire, the more reed material you will have in your mouth, and consequently the more vibration will come from the reed. If you want as reedy, as rich, as shawm-like a sound as possible, then you want to have your lips more toward the wire. As you bring your lips back, it tends to damped the blade more. As a consequence this gives a little bit darker sound: not quite so vibrant in particular. 03:16 3
Playing Bassoon in a Wind Quintet /en/lessons/bdp82/#chapter-06-39 Varying your embouchure is very helpful for playing in different dynamic ranges. But I use it a lot for adjusting to the other instruments. For instance, the oboist in our group has a very sonorous, very vibrant sound and for that reason when I want to blend with the oboe I am putting a little bit more reed in my mouth to blend with her. When I want to blend with the horn I want it to be a little less reedy, so I am pulling my embouchure back a little bit and I am changing the vowel in my mouth to more of the “ah” vowel to darken my sound to try to match the horn as best I can. I do all that to try to match the horn. Now in addition to the timbre differences on the bassoon reed, I also adjust my articulation. It is very easy on the bassoon to articulate rapidly with quite a start to the note, with quite a point to the note. When I am performing with the horn, 06:39 4
Playing Bassoon in a Wind Quintet /en/lessons/bdp82/#chapter-07-47 however, I have to adjust my articulation. I want to thank my colleagues in the quintet for helping me re-discover this and work on this further in the context of the Nielsen Quintet. So let me an example of where we as a quintet discussed this, they helped me better match the articulation in the horn. This is in the opening of the third movement. If you take the bassoon reed and you tongue right in the middle—the center—you will get a very sharp start to the note. It will be very, well, it will sound like a double reed. What I found is that by tonguing off to a corner, off to the side a little bit, I was able to have a softer, more rounded release to the note. It is better able to match the horn. So let’s see if I was able to match the horn in the opening of the third movement in terms of the quality of the tone and the start of the release. music: Nielsen Quintet, III, opening I hope that you could hear that I was really trying to round out the tone and make for the adjustments there. If you want to have very percussive tonguing on the bassoon then you can tongue right in the center. Sometimes this is very effective in the low register, a way to pop out notes and to have that percussive tonguing. Here is an example of a change in timbre where I lighten my tone, in variation 6, to match the flute. music: Nielsen Quintet, III, Variation 6 music: Nielsen Quintet, first movement 07:47 5
Nielsen Quintet, Variation 7 /en/lessons/bdp83/ Nielsen Quintet, Variation 7 Variation 7 in the Nielsen Quintet is a bassoon solo. Variation 7 in the Nielsen Quintet is a bassoon solo. 0
Nielsen Quintet, Variation 7 /en/lessons/bdp83/#chapter-00-00 Welcome to this third video in a series on playing chamber music. This video is devoted to variation 7 in the Nielsen Quintet. Well, this is perhaps the highlight of the quintet for the bassoonist. You have a solo variation here that is so wonderfully crafted and so rewarding to study as an exercise in its own right. I want to comment on a couple of places here. 00:00 1
Nielsen Quintet, Variation 7 /en/lessons/bdp83/#chapter-00-48 I breathe in the two places I indicate here in the score (which you can see on the screen). This means that I have to regulate my air so that I can make it through the last three lines well. I do make a contrast in the dynamics as given here. After the second breath I increase the dynamics. I feel that the music warrants a bit of crescendo there particularly because you need to decrescendo before you get to the low C. 00:48 2
Nielsen Quintet, Variation 7 /en/lessons/bdp83/#chapter-01-30 here. This is found in the second to last measure. Once we reach that high A you need to come down to the Eb and often that does not respond well on the instrument. What I do—and left me show you with my left thumb—I come from A and then to Eb holding the C# key. Here is high A to the Eb4. I find that the Eb responds a lot better when I do that. That Eb comes out. Well, here it is. Listen as I perform this. 01:30 3
Nielsen Quintet, Variation 7 /en/lessons/bdp83/#chapter-02-33 I think you can hear that I vary the tempo a little bit. I take liberties with the dynamics. I think you need to that. One of the pleasures of this movement is that you are allowed some creativity. I think you should experiment with that. Enjoy this movement! God bless you. music: Nielsen Quintet, first movement 02:33 4
Final Comments for Bassoonists (Nielsen Quintet) /en/lessons/bdp84/ Final Comments for Bassoonists (Nielsen Quintet) Fingerings, the low A bell extension, and other aspects of performance for the Nielsen Quintet. Suggestions to bassoonists for fingerings, the low A bell extension, and other aspects of performance for the Nielsen Quintet. Terry B. Ewell, Bassoon Digital Professor #84. 0
Final Comments for Bassoonists (Nielsen Quintet) /en/lessons/bdp84/#chapter-00-00 music: Nielsen Quintet, first movement Welcome this is my fourth video, the final video in the collection on the Nielsen Quintet. This contains some “odds and ends” for the bassoonist, a discussion of fingerings, and then a final discussion of how to get the low A at the end of the piece. 00:00 1
Final Comments for Bassoonists (Nielsen Quintet) /en/lessons/bdp84/#chapter-00-39 awkward passage. It is awkward because the F# goes to an A# and back and forth. If you try to do that by leaping the right hand thumb back and forth like this, it will not be possible to smoothly do that. So instead I use the alternate F# fingering, which uses the little finger here for the F#. You can see on the screen that I have indicated with an upside down “A” the alternate fingering. This is the symbol I have used for many years to indicate an alternate fingering. I didn’t find in the literature that anyone else had come up with a symbol to represent an alternate fingering so I developed that myself. Any time I have an alternate fingering I need to alert myself to I will put that upside down “A” there to indicate it to me. Now on page 4 right before “D” there is a diminuendo to pianissimo and we have to diminuendo to F#. That F# on our instruments tends to stick out so I use the muted or pianissimo F# fingering which you now see on your screen. 00:39 2
Final Comments for Bassoonists (Nielsen Quintet) /en/lessons/bdp84/#chapter-02-10 a single breath. But I do that by circular breathing. You can watch one of my videos that will demonstrate how to circular breathe. I have indicated that on the screen here. I also make use, however, of the pianissimo fingering for A. It is nice in this passage because it changes the tone color as well as helps with the dynamics. So I will start the A with the regular fingering (appearing on the screen now), 02:10 3
Final Comments for Bassoonists (Nielsen Quintet) /en/lessons/bdp84/#chapter-02-50 to the pianissimo fingering, adding the F# key to that A. As I crescendo in measure 8 I will slowly lift the thumb off. In measures 9, 10, 11, and 12 I will take a couple of quick breaths while circular breathing. I will then have enough air to the end where I will again use the pianissimo fingering. Well the Quintet ends with a fun low A for the bassoon. It is enjoyable to play that low. The audience enjoys seeing you put the tube in the end of your instrument. Here is a video about how to construct that tube. We conclude this video with a performance at the end of that movement. God bless you. I hope that this has been helpful for you as you play the Nielsen Wind Quintet. 02:50 4
Final Comments for Bassoonists (Nielsen Quintet) /en/lessons/bdp84/#chapter-03-47 bassoon in order to play the last note in the Nielsen Quintet. I have taken a piece of rolled up paper you can see that it is roughly 14 inches (365 mm) in length. You want to make sure that you have about 11 inches (27j9 mm) that stick outside of the bassoon bell so that you can get the low A in tune. Now I have continued the conical bore of the bassoon. You will notice that this end is smaller than that end. I have continued the flare (enlargement) on this end by unrolling the paper a little bit. I tape the ends. That gives me the nice low A. If you wish to have the low A lower in pitch you need to have a longer tube. If you need it sharper, make the extension a little bit shorter. So there it is. The low A extension for the Nielsen Quintet. music: Nielsen Quintet, ending music: Nielsen Quintet, first movement 03:47 5
Milhaud’s Suite for WW Quintet, Bassoon /en/lessons/bdp164/ Milhaud’s Suite for WW Quintet, Bassoon Suggestions to bassoonists for performing the 5th movement. Suggestions to bassoonists for performing the fifth movement of Darius Milhaud's La cheminée du Roi René (The Chimney of King René). 0
Milhaud’s Suite for WW Quintet, Bassoon /en/lessons/bdp164/#chapter-00-00 Music: Performance by Quintigre from the sixth movement. Welcome! I’m Terry Ewell. I am the bassoon and music theory professor here at Towson University. I am also the former President of the International Double Reed Society and in addition I freelance in the Baltimore area. First I am going to address some issues for all quintet players in the fifth movement, Jousts on the arc. Then I will touch on a few issues for just the bassoonist. 00:00 1
Milhaud’s Suite for WW Quintet, Bassoon /en/lessons/bdp164/#chapter-00-45 For the most part this movement consists of two measure gestures. But I think it is important that you link the two measures together so that you get longer phrase groupings. For instance, you consider the first two measures to be the antecedent that then moves on to the consequent. Here is a visual representation of how the dynamics might work. Notice there is less diminuendo in m. 2 and the highest goal of the first four measures is on the downbeat of m. 4. Music: opening of the fifth movement 00:45 2
Milhaud’s Suite for WW Quintet, Bassoon /en/lessons/bdp164/#chapter-01-40 The dynamics present very important aspects of the form of this movement. For instance, in measure 9 the mezzo piano signals the start of the B section. This whole section should be noticeably quieter than the opening section. In m. 15 we have a false recapitulation, a return to the opening that is not a true repetition. It is important that this remain in the quieter dynamic, mezzo piano, so that when the true recapitulation or true return of the opening A section comes in m. 18 the audience clearly understands it is there. The movement is a miniature, a little gem of an “A B A” form. Be sure that you communicate this to your audience. Music: False and real recapitulations 01:40 3
Milhaud’s Suite for WW Quintet, Bassoon /en/lessons/bdp164/#chapter-02-52 I chose this movement from the Milhaud quintet because it emphasizes important aspects of articulation. So let me briefly talk about articulation. In the opening in the horn and bassoon parts the tonguing is much more legato. This is in contrast to the staccatissimo markings in measure 3 and the staccato markings in measure 11. The lengths of notes are determined by how long the tongue is off of the reed. That is, how long the reed is allowed to vibrate. The longer the reed vibrates the longer the length of the note. Therefore if you want to make staccato notes, the tongue is on the reed much longer than perhaps it is off the reed. The quality of the articulation, that is the start and stopping of notes, is determined by the speed of the tongue. A more rapid tongue movement (releasing the notes) will create more articulation, more harshness to the start of the note. Less rapid articulation will great a more legato or a more quiet release of the note. For instance, if you want to make more of a legato tonguing of the note use the “L” sound. “ La La La …” I you want to make more of an explosive release, then use the “T” sound. This is more of a quick tongue movement. Now in the opening I want to blend with the Horn. Therefore I have to temper my releases. I have to use more of the “L” or slower release in order to blend with the horn. It is very easy on the bassoon to have very fast and quick releases and stops to the notes. We need to match, however, the instruments we are playing with. Let’s address breath support through articulated notes. The breath support should be the same as slurred notes. For example, let me play in measure 11. First I will play it slurred. example: slurred 02:52 4
Milhaud’s Suite for WW Quintet, Bassoon /en/lessons/bdp164/#chapter-05-17 I think that you can hear how I am phrasing with the air. The air is pushing through the notes. I want to keep the air the same and the embouchure the same. This time I will only change how long the tongue is on the reed. Here I will create some staccato notes. <example: staccato> Avoid excessive jaw movement, don’t change the air with each note. Use the air to shape the phrase. Use that for your dynamic inflections. The lengths of the notes again are determined by the tongue and the type of enunciation of the notes is determined by how fast the tongue releases. Last of all on the bassoon for clarity of notes you will need to use the flick keys. So please see some of my other videos about how to flick. Thank you for viewing this video. If you want to know more information about Towson University please visit our website. Thank you so much. Bye. Music: Performance by Quintigre from the sixth movement. 05:17 5
Ensemble Games /en/lessons/bdp102/ Ensemble Games Exercises for Chamber Ensembles. Exercises for Chamber Ensembles. For further information see this publication: Terry B. Ewell, “Ensemble Games,” The Double Reed 39/2 (Fall 2016): 100–107. 0
Ensemble Games /en/lessons/bdp102/#chapter-00-00 Welcome to this video on ensemble games. I use the term “ensemble games” to indicate group exercises or studies that improve the timing, intonation, and matching capabilities of members of chamber ensembles. Ensemble games hone skills such as leading and following. The purpose of the games is to develop critical listening and furthermore verbal and non-verbal communication skills. If ensemble games are employed properly they will also help develop group cohesion. Also the games are fun! So, let’s now take a look as some ensemble games. I thank these students from the MasterWorks Music Festival for demonstrating them for this video. Many ensembles tune. Tuning can be enhanced further by adding a rhythmic component. 00:00 1
Ensemble Games /en/lessons/bdp102/#chapter-01-02 on the tuning note. The exercise is to play in tune and exactly together. Notice that the quartet is split into two groups. One group is playing and the other group, here a single student is listening. The listener provides advice and critiques to her colleagues. 01:02 2
Ensemble Games /en/lessons/bdp102/#chapter-01-45 The use of drones can enhance pitch matching. A drone can be played by one of the group members, or you can use a recorded drone such as those available from www.2reed.net. Notice that the dialogue between the musicians is enhanced by the ensemble games. The musicians understand the task at hand and the dialogue is a means of helping the ensemble play better together. 01:45 3
Ensemble Games /en/lessons/bdp102/#chapter-02-48 Tuning within a chord presents different challenges. By varying the instrumentation and voicing of the chords the ensemble can push itself to master new challenges. 02:48 4
Ensemble Games /en/lessons/bdp102/#chapter-03-00 The tempo game hones skills of leading and following. The leader communicates different tempos that the rest of the group needs to follow. 03:00 5
Ensemble Games /en/lessons/bdp102/#chapter-04-04 The imitation game brings attention to pitch, length, and style matching. The followers need to match as closely as possible the leader. All of this is done with attention to correct timing and pitch. The imitation game can be made more difficult by allowing for different pitches. Here the game is limited to three notes: Do, Re, Mi in the major key. The games can be limited to certain chords, scales, or be unlimited: any pitches. I want to thank Izzy Hance, Melissa Bowles, Katie Garringer, and Brooke Nance for their assistance with this video. Further information on other videos and teaching materials may be found on www.2reed.net. God bless you. 04:04 6
Circular Breathing: Part 1a Concepts /en/lessons/bdp7a/ Circular Breathing: Part 1a Concepts Concepts and Diagrams to Explain Circular Breathing Circular Breathing: Part 1 Concepts. This videos explains concepts and presents diagrams illustrating the proceedures for circular breathing. Also, see: Ewell's article: "Musical Musings: Circular Breathing," The Double Reed 26/2 (2003): 68. Jane Ann Orzel's letter: "Musical Musings: Circular Breathing, Part II," The Double Reed 26/4 (2003): 44. Also, see: Método: Music of the Americas for Bassoon, 5-1 0
Circular Breathing: Part 1a Concepts /en/lessons/bdp7a/#chapter-00-00 Music: Opening Bassoon Solo to Vivaldi's Concerto in E minor Several people have been interested in my ability to circular breathe through their viewing of my video on YouTube in which I circular breathe in a performance of “Flight of the Bumblebee.” At the time you are viewing this video you may not be able to see that (original)video. Restrictions by the television station that recorded the concert will only allow me to leave it on the website until June 2007. This video and the video following it will be dealing with two different aspects. This video is going to deal with the principles and mechanisms for circular breathing. 00:00 1
Circular Breathing: Part 1a Concepts /en/lessons/bdp7a/#chapter-01-05 This is a picture of the air flow that is normal for (playing) bassoon reeds. So you have coming out of the lungs the air comes up behind the tongue here into the oral chamber above the tongue and into the bassoon reed and on out. So that is the normal air flow we have for bassoonists. Notice that the soft palate, this little muscle area is closed off. Some players have a soft palate that doesn't close all the way or fatigues easily but in the normal air flow the air should go in this particular motion. 01:05 2
Circular Breathing: Part 1a Concepts /en/lessons/bdp7a/#chapter-01-57 When we prepare to circular breathe or at least when I prepare to circular breathe I inflate my cheeks. Now Jane (Orzel) mentions in her article that she slides the back of the tongue forward and shortens the air chamber inside the mouth. I haven't been as effective in doing that so I inflate the cheeks therefore creating a bigger cavity for the air to flow out of my mouth. Once my cheeks are inflated the tongue is then raised in the back of my mouth to close off the passage. I have a reservoir of air right here in this part of the mouth that continues (the air) going forward. Now when I circular breathe at the very same time 01:57 3
Circular Breathing: Part 1a Concepts /en/lessons/bdp7a/#chapter-02-46 I raise the tongue to the top of the soft palate here I also drop the soft palate at the back of my mouth to allow for the flow of air coming in through my nose, through the sinus passages. 02:46 4
Circular Breathing: Part 1b Concepts /en/lessons/bdp7b/ Circular Breathing: Part 1b Concepts Concepts and Diagrams to Explain Circular Breathing Circular Breathing: Part 1 Concepts. This video explains concepts and presents diagrams illustrating the procedures for circular breathing. Also, see: Ewell's article: "Musical Musings: Circular Breathing," The Double Reed 26/2 (2003): 68. Jane Ann Orzel's letter: "Musical Musings: Circular Breathing, Part II," The Double Reed 26/4 (2003): 44. 0
Circular Breathing: Part 1b Concepts /en/lessons/bdp7b/#chapter-00-00 No timed transcript text is supplied for this chapter. 00:00 1
Circular Breathing: Part 1b Concepts /en/lessons/bdp7b/#chapter-00-08 Finally, once I have taken breath into the lungs, I quickly close the soft palate, drop the tongue, 00:08 2
Circular Breathing: Part 1b Concepts /en/lessons/bdp7b/#chapter-00-17 and re-engage the air coming out of the reed. 00:17 3
Circular Breathing: Part 1b Concepts /en/lessons/bdp7b/#chapter-00-22 There are four different steps that need to be practiced. So any musician who is learning to circular breathe will 1) need to be able to inflate and deflate the cheeks. That is without changing your embouchure right here where it touches the reed or else you will be getting a sound deviation. 2) Close off the tongue. 3) Drop the soft palate to breathe in. 4) Then re-engage the normal breathing mechanism. 00:22 4
Practice Methods for Circular Breathing /en/lessons/bdp76/ Practice Methods for Circular Breathing Practice methods for Circular Breathing using a straw, bassoon bocal, and the instrument. Practice methods for circular breathing using a straw, bassoon bocal, and the instrument. This video is a reworked version of BDP #8 and BDP #9. 0
Practice Methods for Circular Breathing /en/lessons/bdp76/#chapter-00-00 No timed transcript text is supplied for this chapter. 00:00 1
Practice Methods for Circular Breathing /en/lessons/bdp76/#chapter-00-18 music: Flight of the Bumblebee Get the smallest hole possible and even with a small straw I will be pinching the straw a bit. Now you need to practice a circular breathing in four different ways. First is the practice of inflating and deflating your cheeks. You can watch that you have of air going through the water. Hold a cup in front of you for circular breathing. I am going to pinch the straw and blow through this and inflate and deflate my cheeks. All the while I am keeping the bubbles moving. Then the next step is to inflate your cheeks, close off the pocket air you have created inside your mouth, inside your cheeks with the back of your tongue. It is sealed off. The area of the mouth is available (for air). Push out the air with your cheeks. Other performers talk about moving their tongue forward and decreasing the size of the reservoir of air in the mouth. Pinch the straw so you have the most resistance. Inflate your cheeks, close off with the tongue, push out the air with your cheeks. sound of bubbles Sometimes it is best to take half a breath. You don't need to take a full breath to do this practice. It takes too long to run out of air. Take a half breath, inflate your cheeks, blow out the air with your cheeks, stopping the breathing with your lungs. You closed off the tongue at the back of your throat. I am blowing out some air and then now I am doing it. sound of bubbles Now the aspect of circular breathing is to breathe in through your nose while you're pushing air out of your mouth and that keeping the air constantly moving our of your mouth and taking a little breath again through the straw. I will do this third step. I am getting closer. You can see that the bubbles are still going while I breathe in. See I was breathing in through my nose and the bubbles were still going out. The last, the fourth step, is to re-engage your air after you have breathed in, keeping the bubbles constantly going. Close off the straw so you very little air coming out and have plenty of time to form the reservoir and the chance breathe in. sound of bubbles the bubbles are continuing to go and I have breathed in several times. 00:18 2
Practice Methods for Circular Breathing /en/lessons/bdp76/#chapter-03-35 We have the whisper key hole on the side, which makes a very small hole. Close off the end of the bocal here (that goes into the instrument) with your thumb. You can feel the air escaping with your finger. It is such a tiny amount of air that it gives you a chance to practice. Let me now try circular breathing. You can't see bubbles, but you can seem my approach here. I circular breathed twice. Normally you don't need to circular breathe so rapidly. Normally it will take many seconds between breaths. So anyhow, God bless you. I think with a little practice you will be able to circular breathe with a straw or bassoon bocal. 03:35 3
Practice Methods for Circular Breathing /en/lessons/bdp76/#chapter-04-32 apply this to your instrument. I will do this in the next video. Pick a stable note that does not use a lot of air: a note that you can play a long time on. I find the C#4 (full fingering) the D4, F4 to be useful and stable for this. We are going to do this with the four steps. I will demonstrate from the front and side views. The first step you need to do (on your stable note) is to inflate and deflate your cheeks. The air supply will be going from your lungs but you inflate and deflate. tone The reason for doing that is you are trying to keep the front portion of your embouchure, your lips, from moving. This is not all that easy to do. Once you master that step--the inflation and deflation of the cheeks--the second step is then to end the note with the reservoir of air you have in your cheeks. You are going to stop blowing with your lungs. You raise your tongue in the back of your mouth to create that reservoir of air. You then I push out the air with your cheeks while trying to keep the pitch the same [without deviation]. tone It works for only a fraction of time. I will do it again. tone That time the pitch raised up a bit. I have to learn how to keep the pitch constant. It is a matter of practice. This third step in this sequence is to inflate your cheeks blow out the air with your cheek muscles while breathing in at the same time. We discussed the first video you actually have to allow breath to come in by lowering the soft palate. You probably are not aware of the movement of the part of your body. It is a strange sensation to have the tongue cutting off the air supply blowing out with your cheeks and then air coming in. tone I don't know if you could hear, but I breathed in through my nose. I will try it again for you. tone Then the fourth step is then to re-engage the air before the cheeks have fully deflated. You have to work to master these four steps. tone You can probably hear that there is a point of re-engagement. This is a hiccup when the air [from the lungs] comes in. I am a bit out of practice with circular breathing, but as you practice more you can even it out, but that there is still going to be that little bit of hiccup in the air. Part of the issue is how to hide that re-engagement of the air from the lungs. If there are moving notes or trills the ear doesn't notice the hiccup. For instance, if I do a C#-D#4 trill, I think you will scarcely hear it. C#-D#4 trill I will try other notes. moving notes hiding circular breathing It sounds very fluid with moving notes. You will find it is easier to circular breathe in the upper register of the bassoon. There is more resistance to the notes; you use less air. With more air pressure you use less air. It is harder to circular breathe in the lower registers. That's unfortunate since it is in those we wish we could use it. If you play a low C you run out of air very quickly. But it is difficult to circular breathe on the bassoon in that register. 04:32 4
Bassoon Reed Making 1: Gouging /en/lessons/bdp50/ Bassoon Reed Making 1: Gouging Steps to gouge a bassoon reed. This video demonstrates the gouging stage of bassoon reed making. It is the first lesson in the Bassoon Reed Making series. 0
Bassoon Reed Making 1: Gouging /en/lessons/bdp50/#chapter-00-00 Bassoon Reed Making 1: Gouging Music: “Flight of the Bumblebee” Welcome, this is a series of videos I put together that I hope help you with making reeds. I'm Terry Ewell and I am glad you are watching these five videos I have made for you. There are many people far more expert in reed making than I am. But the methods I show here I have used for 30 years and I hopeful that they will help you as well. You are going to notice in the videos that I do not advocate certain equipment. This is to avoid commercialism. I have placed blue masking tape over names so that I am not advertising certain equipment. 00:00 1
Bassoon Reed Making 1: Gouging /en/lessons/bdp50/#chapter-00-56 Thank you for watching and let's get started. I begin by soaking the tubes of cane in warm water for about 20 minutes. Then I inspect the tube of cane. This tube has got some insect damage. So I am going to discard it. This tube looks OK, but the ends curve a bit. So I will need to cut those off. I examine the tube with a curved metal gauge. Let's look at this end. I am looking for the portion with the closest symmetry. Symmetry is very important for the finished reed. 00:56 2
Bassoon Reed Making 1: Gouging /en/lessons/bdp50/#chapter-02-26 I then split the tubes into four pieces using the cane splitter. You can use a knife for this, but I am fortunate to have the splitter. Each section of cane is then examined for straightness. I look at the grain. And again you can see the curved portions here. So the straightest part of the cane is going to be in this area. I then cut the cane with a reed guillotine. This piece of cane is pretty straight. It curves just a little bit. 02:26 3
Bassoon Reed Making 1: Gouging /en/lessons/bdp50/#chapter-04-00 Next I place the cane in the bed of the gouger. I pay attention to how the knife moves through the cane. This cane is gouging very nicely: nice and even consistency. This particular piece of cane is not that hard. So I will make a note of that. The gouger I use creates an eccentric shape. The gouge is thinner at the sides than it is in the center. Concentric gouges such as this one have the same thickness of cane over the whole gouge. 04:00 4
Bassoon Reed Making 1: Gouging /en/lessons/bdp50/#chapter-05-30 Some reed makers then further adjust the reed by scraping the inside of the blade. If you are interested, I recommend you read The Bassoon Reed Manual: Lou Skinner's Theories and Technique by James R. McKay. Gerald Corey gave an outstanding lecture on scraping the interior of the reed blade years ago. The lecture was at the 1997 IDRS Conference was titled, “Many Varieties of Tone and Playing Characteristics in Your Bassoon Reed Box.” Corey demonstrated wide variations of tone and response due to these different gouges made by hand. I haven't worked with these, but I am intrigued by the results. The center thickness of gouged cane should be between .047 of an inch (.012 centimeters) and .055 of an inch (0.14 centimeeters). This one is right around .055. The thinner the gouge the more dense and hard the cane. The cane nearest the bark is the hardest. I mark each piece of cane with a pencil so that “siblings,” that is pieces of cane from the same tube are identified. I also note the density of the cane, whether the cane was hard or easy to gouge. I write this information in a notebook when I number each piece of cane. 05:30 5
Bassoon Reed Making 1: Gouging /en/lessons/bdp50/#chapter-07-06 If you are drying your cane at this point make certain that the cane dries completely, not in full contact with other pieces of cane. Not like that. Be sure to separate them. God bless you and thank you for watching this video. Music: end to “Flight of the Bumblebee” 07:06 6
Bassoon Reed Making 2: Shaping /en/lessons/bdp51/ Bassoon Reed Making 2: Shaping Using a shaper to form the bassoon reed. This video demonstrates how to use a shaper to form the bassoon reed. It is the second lesson in the Bassoon Reed Making series. 0
Bassoon Reed Making 2: Shaping /en/lessons/bdp51/#chapter-00-00 Music: Flight of the Bumblebee 00:00 1
Bassoon Reed Making 2: Shaping /en/lessons/bdp51/#chapter-00-23 Welcome to the video on shaping bassoon cane. For those who use a straight shaper this is the next step in making a bassoon reed. Those with folding shapers will first profile the reed and then shape the reed. I often shape two pieces of cane at a time in order to save my efforts. The straight shaper is curved in a certain direction. I put in the cane. I align the cane; centering it. I use a reed knife to shape my cane but most use an exacto knife or a knife with a very thin blade. I find a position with the knife and shaper that I won't cut my fingers. 00:23 2
Bassoon Reed Making 2: Shaping /en/lessons/bdp51/#chapter-01-16 The first cuts I make are just taking away the excess cane. Now it is very important to know where the narrowest portion of the shape is. You can see that the shape narrows right in this area, flares out again, and of course flares where the tip is. Once I have cut away the excess there then 01:16 3
Bassoon Reed Making 2: Shaping /en/lessons/bdp51/#chapter-01-45 I can start my cuts in both directions just going to that narrow place. Notice that I cut at an angle and sometimes moving back and forth like this to take off the cane. This process is repeated for all four sides. If you do this properly it doesn't dull your knife. You never want to cut with the knife into the shaper. Instead the knife glides along the shape. At a later stage we can clean up the shape a bit with sand paper. 01:45 4
Bassoon Reed Making 2: Shaping /en/lessons/bdp51/#chapter-03-21 Here is the reed that is shaped. On the screen there is an example of the dimensions of a straight shaper that I recommend to my students. I encourage students to make reeds of a dimension that are common place in the USA. Only after they have considerable experience with reeds should they deviate from normal measurements. God bless you, thanks. Music: end to “Flight of the Bumblebee” 03:21 5
Bassoon Reed Making 3: Profiling & Other Preparations /en/lessons/bdp52/ Bassoon Reed Making 3: Profiling & Other Preparations Using a profiling machine to remove the bark on the reed blade. This video demonstrates the use of a profiling machine to remove the bark from the bassoon reed blade and discusses other preparations for reed making. It is the third lesson in the Bassoon Reed Making series. 0
Bassoon Reed Making 3: Profiling & Other Preparations /en/lessons/bdp52/#chapter-00-00 Music: Flight of the Bumblebee Welcome to this video on profiling bassoon reeds and making other preparations to get ready to form the tube. This is the next 00:00 1
Bassoon Reed Making 3: Profiling & Other Preparations /en/lessons/bdp52/#chapter-00-30 step I use after shaping the bassoon reed. My profiler is a single barrel profiler. I have, however, carved into the barrel contours that will produce the thicknesses I want in the reed profile. This reduces the amount of time needed for hand finishing. I always work with cane that is wet. Our first step is to place the reed on the barrel. Center the reed. 00:30 2
Bassoon Reed Making 3: Profiling & Other Preparations /en/lessons/bdp52/#chapter-01-16 And begin with shallow strokes. The first time just removing the bark. By the way this (work) bench is from Norway. It was brought from Norway by my in-laws. My wife's mother is descended from Norwegian imigrants. And when working on this table I am reminded of the wonderful family members I knew and the ones I still know. It is wonderful to have those connections with family. Ok, the profile is now complete. 01:16 3
Bassoon Reed Making 3: Profiling & Other Preparations /en/lessons/bdp52/#chapter-02-54 Let's take a look at the profile under the light. You can see how my profiler has left the tip area thinner, and left more cane in the heart of the reed and in the spine of the reed. At this stage I then sand the reed with 400 grit sandpaper, starting in the center and going to 02:54 4
Bassoon Reed Making 3: Profiling & Other Preparations /en/lessons/bdp52/#chapter-03-29 the edges. You might also want to polish the interior of the reed by sanding with the paper side of the sand paper as well. If the number has come off, I then re-write the number. I then fold over the blade of the reed with my knife in the center. I then look at the alignment of the reed. This one needs to be aligned a little bit. It is a little askew, off center. That's better. And I will adjust the end here now or later. Any touch ups I now want to make to the shape with sand paper, I can do that. And now the reed is ready to dry. 03:29 5
Bassoon Reed Making 3: Profiling & Other Preparations /en/lessons/bdp52/#chapter-05-00 Currently my reeds have barrels of 1 and 2/16 inches (that is 2.86 centimeters) and a blades of 1 inch (2.54 centimeters). You can see pictures and measurements of my reeds and reeds of others on the International Double Reed Society website at http://idrs2.colorado.edu/reed/Reeds.html If you are drying your cane at this point make certain that the cane dries completely, not in full contact with other pieces of cane. Once the cane has dried I then roughen up a portion of the tube between the first and second wires. 05:00 6
Bassoon Reed Making 3: Profiling & Other Preparations /en/lessons/bdp52/#chapter-05-49 Using a permanent marker I number the reed and then I apply clear fingernail polish over the number. This number needs to be 35W. I then record the information about where the cane was purchased, the gouge thickness, the shape used, density of the cane, and any other information I think is useful. This information helps me to improve my reed making in the future. When I get a great reed I look up the information I wrote down and then try to duplicate the steps I took. God bless you and thank you for watching this video. Music: end to Flight of the Bumblebee 05:49 7
Bassoon Reed Making 4: Forming the Tube /en/lessons/bdp53/ Bassoon Reed Making 4: Forming the Tube Forming the tube with a mandrel. This video demonstrates how to form the bassoon reed tube using a mandrel. It is the fourth lesson in the Bassoon Reed Making series. 0
Bassoon Reed Making 4: Forming the Tube /en/lessons/bdp53/#chapter-00-00 Music: Opening of Flight of the Bumblebee Welcome to this video on forming the tube of a bassoon reed. 00:00 1
Bassoon Reed Making 4: Forming the Tube /en/lessons/bdp53/#chapter-00-22 Here is the equipment I use for forming the tube: pliers, a knife, drying rack, 22 gauge brass wire, a mandrel with a wood handle, and then a source of heat. That could be an alcohol lamp, a gas stove, or an electric stove. I always work with the cane wet. I take the cane out of the water. My first step is to 00:22 2
Bassoon Reed Making 4: Forming the Tube /en/lessons/bdp53/#chapter-01-01 score the cane. I make five marks, first a mark down the center, two other marks off to the right hand side, two marks to the left hand side. Then I repeat the process on the other side. Notice that I make my marks from below where the second wire starts. Once I have scored the cane, that is to help it crack evenly, I then take a little 01:01 3
Bassoon Reed Making 4: Forming the Tube /en/lessons/bdp53/#chapter-01-39 bit of material off the edges. This is called beveling. You can do this by either scraping the knife like that or just removing a piece of it by slicing it off with the knife blade. Some people use sandpaper, others use a file. Any of those methods will work fine. I then examine the reed for the last time. I make sure it lines up, that everything 01:39 4
Bassoon Reed Making 4: Forming the Tube /en/lessons/bdp53/#chapter-02-04 is in order before I put on the wires. My wires are cut to about three inches (7.6 cm). I center the wire on the reed; bend the right hand side around the reed on the top; bend the left hand side around the reed on the bottom. I make sure that the wires are not crossed, that they are parallel to each other. I form an X in front of the reed. Bringing the needle-nose pliers in I hold on to them—oops it slipped—hold on to them in the middle of the “X,” twist them clockwise, and pull and take up the slack. I don't over tighten the wires, I just take up the slack. Then cut off the excess. The second wire is then applied in the other direction on the reed. Again bending around the right side on top, left on the bottom, form an X, put the pliers in, pull, twist, take up the slack, pull again, take up the slack, cut off the loose ends, and adjust the wires so that they are in the right position. Notice that my number is appearing below the first wire. And then the last wire is put on in the same direction as the first wire. Once again I bend the ends around, form an X, pull, twist, pull, and twist, and cut off the excess. Adjust the wires. Keep the reed well soaked. Put that back in the water. Then the last preparation before I am ready to form the tube is to open the base of the tube slightly enough that the mandrel can be inserted. I have to straighten up that third wire there. Very good. 02:04 5
Bassoon Reed Making 4: Forming the Tube /en/lessons/bdp53/#chapter-04-13 At the university I have an alcohol lamp. Sorry, I forgot to bring it home for this demonstration. So instead I will heat my mandrel on the electric stove. You can also heat your mandrel over a gas stove as well. So when the mandrel has reached the temperature I like... And it is heating up a little bit more here. Notice that I am rotating it to make sure that it heats evenly. I then pull out the reed from the water. I insert the mandrel 04:13 6
Bassoon Reed Making 4: Forming the Tube /en/lessons/bdp53/#chapter-04-48 quickly into the base of the reed. I twist the mandrel as it goes in. I take my pliers, gripping the reed I am forcing the mandrel in. And I am beginning to crush the reed, I mean really I crush those fibers. I crush them so it forms evenly around the mandrel. Because I can see this with the barrel naked I can remedy the situation immediately. The third wire is going to be completely round. The second wire is still somewhat oval. But here again I am really crushing the reed, exerting a lot of pressure. I am not crushing the wires I am just simply move the wires so that they are rounded to form to the barrel. Once I am satisfied with that I push the reed onto the drying rack. Then I put a rubber band around the reed . This also helps the barrel to form, to conform to the right shape. Once the rubber band is on and I am satisfied with that I tie it off. The tube will be dried in about 12 hours. God bless you and thanks so much watching this video. Music: Ending of Flight of the Bumblebee 04:48 7
Bassoon Reed Making 5: Wrapping /en/lessons/bdp54/ Bassoon Reed Making 5: Wrapping Forming the wrapping or Turk's Head on the bassoon reed. This video demonstrates how to form the wrapping, or Turk's Head, on a bassoon reed. It is the fifth lesson in the Bassoon Reed Making series. 0
Bassoon Reed Making 5: Wrapping /en/lessons/bdp54/#chapter-00-00 Music: Opening of Flight of the Bumblebee Welcome to this video that demonstrates wrapping the bassoon reed with what is often called the “Turk's head” wrap. There are many ways in which to seal the tube of the bassoon reed. Some use a rubber cement alone. In the past I have used plastic electrical tape. Let me demonstrate how that works. My reed has dried overnight. I am taking off the rubberband. 00:00 1
Bassoon Reed Making 5: Wrapping /en/lessons/bdp54/#chapter-00-54 The tube has formed nice and round. I wet the mandrel so that it won't slip. Let me demonstrate how to use electrical tape to wrap the reed. This was a method I used for many years in college. It is very simple and straight forward to wrap it like that. And then you just cut the tape and you are done. Of all the methods for sealing the tube of the reed I prefer to use the traditional wrapping method. I find that the ball formed on the tube makes it easier to place the reed on the bocal. As a result the reed seems more stable on the bocal. I use cotton thread (string) for wrapping, and a household cement for sealing the tube. I also make use (as you saw) of the pliers for tightening the wires and the knife will be needed at the end to cut the thread. 00:54 2
Bassoon Reed Making 5: Wrapping /en/lessons/bdp54/#chapter-02-18 I start with a dab of household cement on the edge of the barrel reed barrel on the part that does not have the bark. 02:18 3
Bassoon Reed Making 5: Wrapping /en/lessons/bdp54/#chapter-02-36 I then lay the string along the barrel and then make a half-hitch that I place over the tip of the reed. I draw the string up and secure it along the edge like that. 02:36 4
Bassoon Reed Making 5: Wrapping /en/lessons/bdp54/#chapter-03-03 I then start my wrap along the reed, around the tube maintaining some tension. Again it is good that I have wetted the mandrel so that it grips inside the tube of the cane. I go along like this. I quickly wrap down the reed until I arrive at the third wire. Once 03:03 5
Bassoon Reed Making 5: Wrapping /en/lessons/bdp54/#chapter-03-37 I am at the third wire I then do another half-hitch. Turning my wrist like this, I place the end over the mandrel and place the string over the reed like that and draw it tight. That then secures all the work I have done up to this point. 03:37 6
Bassoon Reed Making 5: Wrapping /en/lessons/bdp54/#chapter-04-07 Now I begin to build the ball that goes under the Turk's head. So on either side of the wire I wrap string around the bassoon reed . When it gets to a point that I like the look and shape of that, once that is accomplished I start at the place that I clipped the wire, moving down and up I progressively create the typical Turk's head pattern. Let me adjust the light so that perhaps you can see it a little better. Moving back and forth I try to make an even weave on that ball. On the Turk's head this creates that pattern that I am looking for. When I am satisfied with the amount of 04:07 7
Bassoon Reed Making 5: Wrapping /en/lessons/bdp54/#chapter-05-25 wrapping I have done I then again make another half-hitch, go over the end of the mandrel, and then secure it at the bottom of the reed. I pull that tight. With my knife I cut off the loose end and my Turk's head is now done. I loosen the reed a little bit and then apply 05:25 8
Bassoon Reed Making 5: Wrapping /en/lessons/bdp54/#chapter-05-58 my household cement to the reed. I liberally coat the Turk's head to seal it totally. I try not to miss any places. When that is well coated (I blow on it to help it dry a little bit) I then place it on the drying rack where is a few minutes it will be dry. God bless you and thank you for watching this video. I hope that your reed making is successful and that you have picked up a few tips that I have given you in these videos. Bye. Music: Ending of Flight of the Bumblebee 05:58 9
Changing a Chinese Style (Larger Reed) to an American Style (Smaller Reed) /en/lessons/bdp175/ Changing a Chinese Style (Larger Reed) to an American Style (Smaller Reed) Demonstration of Reed Finishing with Tools This video has subtitles in English, it is mostly spoken in Chinese. The original transcript is available here. The video references this paper 0
Changing a Chinese Style (Larger Reed) to an American Style (Smaller Reed) /en/lessons/bdp175/#chapter-00-00 Music: Dance of the Yao People, bassoon solo. Welcome. I am Terry Ewell. There are many different styles of bassoon reeds, each with its own strengths. You can study my article on reed finishing, A Pedagogy for Finishing Reeds, for more information. In this video I take a larger Chinese-style bassoon reed and change it into a smaller American-style reed. 00:00 1
Changing a Chinese Style (Larger Reed) to an American Style (Smaller Reed) /en/lessons/bdp175/#chapter-01-19 First, observe the measurements. Notice the different apertures (tip openings). Notice the different blade thicknesses at the tip and the rails (sides). 01:19 2
Changing a Chinese Style (Larger Reed) to an American Style (Smaller Reed) /en/lessons/bdp175/#chapter-02-00 Also see the different placement of the wires. First, I change the position of the first wire. 02:00 3
Changing a Chinese Style (Larger Reed) to an American Style (Smaller Reed) /en/lessons/bdp175/#chapter-02-53 Second, I create a new collar with a knife and later with a file. 02:53 4
Changing a Chinese Style (Larger Reed) to an American Style (Smaller Reed) /en/lessons/bdp175/#chapter-03-32 Then I make the rails thinner with a file. Notice that I do not remove material in the center, or heart, of the reed. 03:32 5
Changing a Chinese Style (Larger Reed) to an American Style (Smaller Reed) /en/lessons/bdp175/#chapter-04-13 Adjust the aperture (tip opening) by closing the first wire and opening the second wire. 04:13 6
Changing a Chinese Style (Larger Reed) to an American Style (Smaller Reed) /en/lessons/bdp175/#chapter-04-50 Then I cut the tip. Here I use scissors since I am traveling in China. At home I use clippers or a tip cutter. 04:50 7
Changing a Chinese Style (Larger Reed) to an American Style (Smaller Reed) /en/lessons/bdp175/#chapter-05-42 Continue thinning with the file and the knife while balancing the sides. Then I make the wings thinner. Notice that I do not make the heart, or middle, thinner. At the end I make further adjustments so that the reed will respond quickly and play in tune. My article on reed finishing will help you with these issues. Thank you for watching. 05:42 8
Music in Motion /en/lessons/bdp100/ Music in Motion Music in Motion. Comments on musicality, motion in music, and Tabuteau's "drives." Demonstration of ways to practice the musical application of dynamics, vibrato, and rubato. Performance of a portion of Alberto Orefici's Melodic Study #1. By Terry B. Ewell. Bassoon Digital Professor #100. www.2reed.net. Music in Motion. Comments on musicality, motion in music, and Tabuteau's "drives." Demonstration of ways to practice the musical application of dynamics, vibrato, and rubato. Performance of a portion of Alberto Orefici's Melodic Study #1. By Terry B. Ewell. Bassoon Digital Professor #100. www.2reed.net. 0
Music in Motion /en/lessons/bdp100/#chapter-00-00 Music from Orefici's Melodic Study No. 1 00:00 1
Music in Motion /en/lessons/bdp100/#chapter-00-23 Welcome to the 100th video in the Bassoon Digital Professor series. I am delighted to be here and celebrate this milestone with you. I have prepared for you a special video that summarizes an important aspect of my pedagogy. That aspect is motion in music. 00:23 2
Music in Motion /en/lessons/bdp100/#chapter-00-47 There are many writings on motion in music. Well known among musicians is David McGill's book "Sound in Motion." But McGill is not the only author to use of the metaphor "motion" to describe music. Many contemporary musicians, music theorists, and philosophers have also written on the subject. I have also made references to motion in music in several of my writings. References to motion in music extend well back to counterpoint treatises in the Baroque period, if not even before. If you want to explore the subject of motion in music, I have prepared a bibliography for you that is available at www.2reed.net/motion. So let's get started. 00:47 3
Music in Motion /en/lessons/bdp100/#chapter-01-35 So how does a performer add motion to music? What do we mean by musical direction? Typically we use three ways to show motion in music. These are dynamics (crescendo and diminuendo), varying the speed of the vibrato, and rubato, that is, slight speeding up or slowing down the tempo. There are more ways to show motion, but those are the three we will deal with here in this video. 01:35 4
Music in Motion /en/lessons/bdp100/#chapter-02-07 Marcel Tabuteau spoke of the term "drive." This is something that he coined. A drive is a scaling of some aspect of music. It is a musical parameter. Here is an example of a drive using only dynamics. Set your metronome for a quarter-note equals 60. Notice that this is a five count exercise. The first measure is five counts, so is the second, etc. I am indebted to Norman Herzberg for this idea. When you have mastered the five count exercise add a beat to each measure. Keep adding beats to challenge yourself throughout the whole range of the instrument. You can also practice dynamic drives with articulation. There is such a great variety 02:07 5
Music in Motion /en/lessons/bdp100/#chapter-02-54 to the ways you can practice drives that you can entertain yourself for many hours. Be creative! Now, let's take a brief passage from the first Melodic Study by Alberto Orefici to examine musical motion. Orefici is explicit in this passage about the location of the climaxes. The downbeat of measure 2 is a musical goal. The fourth beat of measure 4 on the appoggiatura is another musical goal. The last two goals are found on the downbeat of the first measure of the second line and then the appoggiatura E3 in the third measure of that line. Now, you can practice musicality in several ways. Here is an example of where I play a single tone, a monotone G4, and vary the vibrato and dynamics together. I will tap my foot so 02:54 6
Music in Motion /en/lessons/bdp100/#chapter-03-43 that you can hear the beats. <Monotone with tapping foot> I hope that you hear that I project forward motion in the music by means of a faster vibrato and louder dynamics. Conversely, motion away from a musical goal is broadcast by means of a release of tension, that is, a slower vibrato and a decrescendo. When I play the monotone, I am listening to the music in my mind. We call this 03:43 7
Music in Motion /en/lessons/bdp100/#chapter-04-37 audiation. Here is the monotone again, but this time I will point out the corresponding place in the music. <Monotone with tapping foot> Why is the monotone so important as a practice tool? Well, if you can't play musically on a single tone, you really aren't playing musically with many tones. The many tones are simply masking your inabilities. Here I will play the monotone for you again, but this time I tongue the beats. Monotone with tonguing 04:37 8
Music in Motion /en/lessons/bdp100/#chapter-05-45 Did you notice that I didn't restart my vibrato every time I tongued? It is a terrible habit to link your vibrato to your articulation patterns. Don't do it! The vibrato should operate separately. Now, you should practice varying the vibrato and dynamics separately. In fact you want to gain such control over both so that you can vary the two independently at will. Sometimes you might want to increase the speed of vibrato as you decrescendo, for instance. Here is a figure in which dynamics and vibrato are in opposition. Now let's practice rubato, that is the speeding up and slowing of the tempo. I will tongue 8th notes so that you can hear the tempo changes. Notice that rubato needs tasteful application. You can't suddenly speed up or slow down. You need to project to your listener a natural path for the music to follow. It is a bit similar to a tame rollercoaster ride. Smooth descend and ascents. Nothing jerks the rollercoaster, rather accelerations and decelerations happen according to gravity. Music from Orefici's Melodic Study No. 1 with tongued eighth notes 05:45 9
Music in Motion /en/lessons/bdp100/#chapter-07-15 The arcs of the musical lines are also much like a baseball being thrown. If you see the starting its arch and momentarily blink, you still know where the ball will end up. Similarly you need to perform rubato in much the same way so that your musical goals seem inevitable. There needs to be a natural result of the musical line. Now, it doesn't seem intuitive 07:15 10
Music in Motion /en/lessons/bdp100/#chapter-07-55 that in order to play musically you need to be even more exacting and calculating. But when I play musically I subdivide very carefully in my mind. I am not hearing numbers like "1, 2, 3, 4, 5" but instead I hear pulses or beats much like you heard me play the tonguing pattern. Don't fall into the trap of thinking that musicality just happens spontaneously. 07:55 11
Music in Motion /en/lessons/bdp100/#chapter-08-21 Just as technique needs to be practiced, so too musicality needs to be rehearsed. God willing, I hope I can continue with another 100 videos in this series. I have so many ideas that I want to share with you, but not enough time to produce videos 08:21 12
Music in Motion /en/lessons/bdp100/#chapter-08-39 and materials. Well, to close out this video here is a performance of the first two lines of the Orefici "Melodic Study No. 1." God bless you, bye. Music from Orefici's Melodic Study No. 1 08:39 13
Practicing Weissenborn Study #1 /en/lessons/bdp109/ Practicing Weissenborn Study #1 Performance and practice suggestions for Julius Weissenborn's Bassoon Studies, Opus 8, Study #1 Practicing Weissenborn Study #1 (2014, BDP #109). The public domain music for Opus 8/2 – 50 Advanced Studies is available here: 0
Practicing Weissenborn Study #1 /en/lessons/bdp109/#chapter-00-18 Welcome, this is Terry Ewell and I am happy to present these videos to you on practicing the Julius Weissenborn Bassoon Studies, Opus 8, for advanced students. 00:18 1
Practicing Weissenborn Study #1 /en/lessons/bdp109/#chapter-00-33 These videos will use the public domain copy of the Fifty Bassoon Studies: 00:33 2
Practicing Weissenborn Study #1 /en/lessons/bdp109/#chapter-00-40 The scholarly edition of the studies is printed by Universal Bassoon Edition (No. 18122). Let's get started! 00:40 3
Practicing Weissenborn Study #1 /en/lessons/bdp109/#chapter-00-54 Weissenborn writes that this study needs to be played with a full tone. I interpret that to mean that you should play with a loud dynamic—forte. Always practice with your best tone, a beautiful sound. 00:54 4
Practicing Weissenborn Study #1 /en/lessons/bdp109/#chapter-01-11 You should also play the study in tune. The best way to do that is to use drones, that is, continuous sounding notes. You can download free drones from my website: 01:11 5
Practicing Weissenborn Study #1 /en/lessons/bdp109/#chapter-01-29 Practice the study with a C (Do) or G (Sol) drone. Use your ear to tune your playing! Example: Drones 01:29 6
Practicing Weissenborn Study #1 /en/lessons/bdp109/#chapter-02-10 Even fingers are required in this study as well. The best way to master fingering is with rhythms. Try using many different rhythms. Example: Rhythms 02:10 7
Practicing Weissenborn Study #1 /en/lessons/bdp109/#chapter-03-11 Then the LORD God took the man and put him in the garden of Eden to tend and keep it. (NKJV, Genesis 2:15) Adam and Eve were given a garden to take care of or tend. Each of us is also given tasks to do. Consider your garden to be this bassoon study. Work hard to remove the weeds and create something beautiful. Enjoy your work and the fruit and flowers that you are producing! 03:11 8
Practicing Weissenborn Study #2 /en/lessons/bdp110/ Practicing Weissenborn Study #2 Performance and practice suggestions for Julius Weissenborn's Bassoon Studies, Opus 8, Study #2 Practicing Weissenborn Study #2 (2014, BDP #110). The public domain music for Opus 8/2 – 50 Advanced Studies is available here: 0
Practicing Weissenborn Study #2 /en/lessons/bdp110/#chapter-00-19 Welcome, this is Terry Ewell. There are three common problems with practicing and performing Weissenborn Study #2. First, this study is often performed too fast, with one beat in a measure. Weissenborn intended the study, however, to be performed with three beats in each measure. He provides the tempo allegretto with further instructions tempo di minuetto. This means the tempo of a minuet. 00:19 1
Practicing Weissenborn Study #2 /en/lessons/bdp110/#chapter-00-50 The second problem is that the slurred notes sound louder than the tongued notes. This is a common problem on wind instruments. Sustained notes sound louder than shorter notes. To correct this, the performer must give more air on the shorter notes to compensate. Examples: Poorly balanced. Well balanced. 00:50 2
Practicing Weissenborn Study #2 /en/lessons/bdp110/#chapter-01-36 The third problem is that bassoonists often move their jaws when tonguing notes. This is inefficient, and at worst it can change the pitch and timbre of the sound. The quality of the air and the position of the embouchure should be the same whether the notes are slurred or tongued. Examples: All slurred. With articulation. 01:36 3
Practicing Weissenborn Study #2 /en/lessons/bdp110/#chapter-02-25 Practice the exercise in front of a mirror to check your embouchure. 02:25 4
Practicing Weissenborn Study #2 /en/lessons/bdp110/#chapter-02-32 REFLECTION Then the LORD God took the man and put him in the garden of Eden to tend and keep it. (NKJV, Genesis 2:15) Your garden is everything you do in your life: how you practice your instrument, how you talk with others, and how you do your other activities. Consider what you can do to make your garden even more beautiful. 02:32 5
Practicing Weissenborn Study #3 /en/lessons/bdp111/ Practicing Weissenborn Study #3 Performance and practice suggestions for Julius Weissenborn's Bassoon Studies, Opus 8, Study #3 Practicing Weissenborn Study #3 (2014, BDP #111). The public domain music for Opus 8/2 – 50 Advanced Studies is available here: 0
Practicing Weissenborn Study #3 /en/lessons/bdp111/#chapter-00-20 Welcome to the video on Weissenborn Study #3. Weissenborn asks that this study be played sempre staccato, that is, with always separated notes. He also gives the instruction leggiero, which in this context means to tongue lightly. 00:20 1
Practicing Weissenborn Study #3 /en/lessons/bdp111/#chapter-00-40 Many bassoonists move their jaws when they articulate. They "chew" the notes. Avoid this unnecessary movement. First, practice legato tonguing in front of a mirror. Example Then play with shorter notes, but do not change your jaw movement. Example 00:40 2
Practicing Weissenborn Study #3 /en/lessons/bdp111/#chapter-01-23 It is important to use flick or venting keys in this study. The study is slow enough that you can alternate between the whisper key (piano key) and the flick keys. The flick keys help notes start cleanly. 01:23 3
Practicing Weissenborn Study #3 /en/lessons/bdp111/#chapter-01-52 Here is an example of poor articulation without the flick key. Example 01:52 4
Practicing Weissenborn Study #3 /en/lessons/bdp111/#chapter-02-04 Here is an example of clean articulation with the flick key. Example 02:04 5
Practicing Weissenborn Study #3 /en/lessons/bdp111/#chapter-02-15 Here are the note names with the flick key fingerings. 02:15 6
Practicing Weissenborn Study #3 /en/lessons/bdp111/#chapter-02-32 Take breaths in places that enhance the musical phrasing. See the video on Weissenborn Study #9 for a more thorough discussion of where to breathe. Notice that I breathe from below, dropping the jaw for a quick breath. I do not move my whole head to breathe. Dropping the jaw is the most efficient way to breathe quickly. 02:32 7
Practicing Weissenborn Study #3 /en/lessons/bdp111/#chapter-03-02 REFLECTION And the LORD God formed man of the dust of the ground, and breathed into his nostrils the breath of life; and man became a living being. (NKJV, Genesis 2:7) Everything you do, such as practicing, talking, and walking, is not only a physical activity but also a spiritual activity. Each of us is a living being, a spirit in a physical body. Wherever your body goes, your spirit goes as well. Live your life in a way that makes your spirit sing with music. 03:02 8
Practicing Weissenborn Study #4 /en/lessons/bdp112/ Practicing Weissenborn Study #4 Performance and practice suggestions for Julius Weissenborn's Bassoon Studies, Opus 8, Study #4 Practicing Weissenborn Study #4 (2014, BDP #112). The public domain music for Opus 8/2 – 50 Advanced Studies is available here: 0
Practicing Weissenborn Study #4 /en/lessons/bdp112/#chapter-00-19 In Study #3, I presented fingerings for the flick keys. In this Study #4, we will use the flick, or vent, keys again. There is one additional flick key, however, for D4 (Re). Normally, when I tongue this D, I do not use the flick key. However, when slurring up to D4, the flick key is needed. 00:19 1
Practicing Weissenborn Study #4 /en/lessons/bdp112/#chapter-00-50 In order to create a smooth slur, you will need to release the whisper (piano) key early. At first, you may find it helpful to practice the study like this: 00:50 2
Practicing Weissenborn Study #4 /en/lessons/bdp112/#chapter-01-25 The slur to E4 (Mi) in measure 4 is best played by leaving off the first finger of the right hand. 01:25 3
Practicing Weissenborn Study #4 /en/lessons/bdp112/#chapter-01-36 The transition from triplets to duplets is difficult for some students. Practice this exercise to master evenly spaced notes. 01:36 4
Practicing Weissenborn Study #4 /en/lessons/bdp112/#chapter-02-17 The triplet entrance is further improved by subdividing the beat into triplets in your mind on the beat before the triplet notes. Example with triplet subdivision 02:17 5
Practicing Weissenborn Study #4 /en/lessons/bdp112/#chapter-02-27 The general rule is to hold the note under the fermata twice as long. Thus, this quarter note should be held for approximately the duration of a half note. 02:27 6
Practicing Weissenborn Study #4 /en/lessons/bdp112/#chapter-02-39 The caesura indicates a pause or silence in the music. Informally, we call this "railroad tracks" in English. 02:39 7
Practicing Weissenborn Study #4 /en/lessons/bdp112/#chapter-02-53 REFLECTION Then God saw everything that He had made, and indeed it was very good. (NKJV, Genesis 1:31) Sometimes when I play the bassoon, I simply enjoy the feeling of the instrument resonating in my hands. At times I even feel the sound vibrating throughout my body. There is such beauty that is possible with a musical instrument. It is very good! Be thankful for this wonderful and good gift. 02:53 8
Practicing Weissenborn Study #5 /en/lessons/bdp113/ Practicing Weissenborn Study #5 Performance and practice suggestions for Julius Weissenborn's Bassoon Studies, Opus 8, Study #5 Practicing Weissenborn Study #5 (2014, BDP #113). The public domain music for Opus 8/2 – 50 Advanced Studies is available here: 0
Practicing Weissenborn Study #5 /en/lessons/bdp113/#chapter-00-00 TUTORIAL Furioso means forceful and turbulent. This exercise should be played with a great deal of energy. 00:00 1
Practicing Weissenborn Study #5 /en/lessons/bdp113/#chapter-00-26 There are five articulations in this study, and each should be played differently. In the order they appear, they are: • Staccatissimo • No marking • Staccato • Accent • Accent with staccato 00:26 2
Practicing Weissenborn Study #5 /en/lessons/bdp113/#chapter-00-54 In this study, I prefer to play the staccatissimo notes not only shorter than the staccato notes, but also with an accent. I believe this better expresses the Furioso marking. The accented staccato notes should be separated and emphasized, but they should never be as short as the staccatissimo notes. 00:54 3
Practicing Weissenborn Study #5 /en/lessons/bdp113/#chapter-01-15 Improve control of your tongue by practicing these articulation drives. Number 1 represents the shortest duration (staccatissimo), while number 5 represents the longest duration (legato tonguing). Example: Articulation Drives 01:15 4
Practicing Weissenborn Study #5 /en/lessons/bdp113/#chapter-01-34 REFLECTION And the LORD God said, "It is not good that man should be alone; I will make him a helper comparable to him." (NKJV, Genesis 2:18) Tending the garden is more enjoyable when others help. We all need the help and encouragement of others. Don't allow your practicing to make you a hermit! Be sure to share your talents and experiences with others. 01:34 5
Practicing Weissenborn Study #6 /en/lessons/bdp114/ Practicing Weissenborn Study #6 Performance and practice suggestions for Julius Weissenborn's Bassoon Studies, Opus 8, Study #6 Practicing Weissenborn Study #6 (2014, BDP #114). The public domain music for Opus 8/2 – 50 Advanced Studies is available here: 0
Practicing Weissenborn Study #6 /en/lessons/bdp114/#chapter-00-20 TUTORIAL Welcome, this is Terry Ewell. Weissenborn labels Study #6 allegretto grazioso. The study has a quick tempo that is, however, graceful and not overly aggressive. One common mistake made by students is accenting the slurred staccato notes. These notes should neither begin with the tongue nor receive an accent. Instead, each slurred pair of notes should have a slight diminuendo. The staccato marks indicate that Weissenborn wanted separation between each slurred pair. Example played with diminuendo 00:20 1
Practicing Weissenborn Study #6 /en/lessons/bdp114/#chapter-01-09 In Study #2 we discussed avoiding excessive jaw motion. This study also contains passages where jaw movement should be minimized. The eighth-note scales are an excellent place to practice the technique called "playing on the wind." The breath support and embouchure should remain the same whether the notes are tongued or slurred. Example played slurred and tongued 01:09 2
Practicing Weissenborn Study #6 /en/lessons/bdp114/#chapter-01-52 Of course, the jaw or embouchure must move when shaping notes with a diminuendo. For example, the graceful staccato notes in the first two measures are shaped by a slight closing movement of the embouchure. 01:52 3
Practicing Weissenborn Study #6 /en/lessons/bdp114/#chapter-02-08 The first two measures of the third line deserve special attention. Carefully subdivide the dotted quarter note into eighth notes so that it is held for the correct duration. Example played with a metronome and graphics showing eighth-note subdivisions over the dotted quarter note. 02:08 4
Practicing Weissenborn Study #6 /en/lessons/bdp114/#chapter-02-29 The second measure contains an awkward downward slur on the bassoon. I lift the first finger and place it down firmly to execute the slur. In addition, I move my jaw slightly downward and forward to assist the slur. Examples showing finger motion and jaw motion. 02:29 5
Practicing Weissenborn Study #6 /en/lessons/bdp114/#chapter-03-12 REFLECTION And they heard the sound of the LORD God walking in the garden in the cool of the day... (NKJV, Genesis 3:8) The Garden of Eden was a sanctuary where man, woman, and God could spend time together. The garden was tended by Adam and Eve not only for their own enjoyment, but also to create a welcoming place for God. Seek to make your activities— your own garden— a place where God would want to visit. 03:12 6
Practicing Weissenborn Study #7 /en/lessons/bdp115/ Practicing Weissenborn Study #7 Performance and practice suggestions for Julius Weissenborn's Bassoon Studies, Opus 8, Study #7 Practicing Weissenborn Study #7 (2014, BDP #115). The public domain music for Opus 8/2 – 50 Advanced Studies is available here: 0
Practicing Weissenborn Study #7 /en/lessons/bdp115/#chapter-00-21 This study provides another opportunity to practice several of the techniques we have learned in the earlier lessons. First, try to minimize the movement of your jaw when tonguing the arpeggios. The bassoon is much more forgiving of jaw motion than the oboe or clarinet. However, we should still strive to use efficient performance techniques. Play the arpeggios "on the wind." Let's look at this in more detail. Playing "on the Wind" https://2reed.net/bdp/home.html#bdp56 00:21 1
Practicing Weissenborn Study #7 /en/lessons/bdp115/#chapter-00-56 Every movement of the jaw changes either the pitch or the timbre of the note. I suggest that you review the "Articulation Experiments" presented in my Beginning Bassoon Lesson #3. English and Chinese https://2reed.net/bdp/home.html#bdp33 YouTube English: http://www.youtube.com/v/Zv20zy2O8Mo Chinese: http://youtu.be/CLKaB9cTCYg 00:56 2
Practicing Weissenborn Study #7 /en/lessons/bdp115/#chapter-01-11 For many students, jaw movement interferes with varied tonguing patterns. Practice Study #7 using five tonguing patterns: 1–2–3–4–5. Begin with 5, which is legato tonguing. Then progress through the numbers, making each articulation shorter until you reach 1, which should be as short as possible. Here is Number 5. Example Here is Number 4. Example Here is Number 3. Example Here is Number 2. Example Here is Number 1. Example 01:11 3
Practicing Weissenborn Study #7 /en/lessons/bdp115/#chapter-02-28 Practice in front of a mirror. The goal is for the embouchure to move no more than it does when playing the same passage slurred. Example Of course, the embouchure must move to adjust the intonation of each note. However, we are trying to avoid unnecessary movement during the note itself. 02:28 4
Practicing Weissenborn Study #7 /en/lessons/bdp115/#chapter-03-06 The second technique to practice is rapid breathing. The quickest way to breathe is by dropping the jaw. Most bassoonists breathe by raising their heads, which takes more time. See how quickly you can breathe so that you avoid interrupting the rhythm. 03:06 5
Practicing Weissenborn Study #7 /en/lessons/bdp115/#chapter-03-32 The third technique is the use of flick or venting keys. Please refer to the previous videos for the fingerings. When two consecutive notes both require flicking, you can simply hold down the C flick key. For example, in measure 1, on A3 and C4, hold down the C flick key for both notes. Example Also, in the first measure of the third line, hold down the C flick key for both B♭3 and C4. 03:32 6
Practicing Weissenborn Study #7 /en/lessons/bdp115/#chapter-04-26 REFLECTION And the LORD God commanded the man, saying, "Of every tree of the garden you may freely eat; but of the tree of the knowledge of good and evil you shall not eat, for in the day that you eat of it you shall surely die." (NKJV, Genesis 2:16–17) Expectations for performance are high in many areas of life. Eating the wrong fruit in the Garden of Eden changed the lives of Adam and Eve. Likewise, a single wrong note in a beautiful melody can diminish the entire melody. Study #7 is especially challenging because every note should be clear and clean. Strive to eliminate the bad notes, leaving only beauty. 04:26 7
Practicing Weissenborn Study #8 /en/lessons/bdp116/ Practicing Weissenborn Study #8 Performance and practice suggestions for Julius Weissenborn's Bassoon Studies, Opus 8, Study #8 Practicing Weissenborn Study #8 (2014, BDP #116). The public domain music for Opus 8/2 – 50 Advanced Studies is available here: 0
Practicing Weissenborn Study #8 /en/lessons/bdp116/#chapter-00-19 Welcome, this is Terry Ewell. These are my comments on Weissenborn Study #8. Many students always begin practicing a study or composition from the beginning. It feels good to play, over and over, the passages you already perform well. However, it takes greater courage to confront the most difficult parts of an exercise such as this. The quickest way to make progress is to identify the problems and devote more practice time to them. The most difficult sections of an exercise deserve more practice than the easier sections. 00:19 1
Practicing Weissenborn Study #8 /en/lessons/bdp116/#chapter-01-04 I suggest you try a new technique that will improve the efficiency of your practice. Sight-read Study #8 several times. Carefully note the passages that give you the greatest difficulty and mark them with an "X." You probably had little difficulty with measure 1. In fact, you may have played it well every time. Other places, however, such as the fourth line, probably earned one or two "X" marks. Decide this week to practice the problem spots first! Don't begin at the beginning. Read through the entire study only after you have worked carefully on the difficult passages. 01:04 2
Practicing Weissenborn Study #8 /en/lessons/bdp116/#chapter-01-53 I tell my students that once they have identified a problem area, they should find at least three different practice methods to address it. Let's assume that line 4, measure 3 is a problem area for you. Here are some practice methods to consider. 01:53 3
Practicing Weissenborn Study #8 /en/lessons/bdp116/#chapter-02-13 We have already seen that rhythms can help improve finger coordination. Here are several rhythmic exercises and other patterns you can use for this passage. 02:13 4
Practicing Weissenborn Study #8 /en/lessons/bdp116/#chapter-03-34 Tonguing may also be a problem. Let's separate tonguing from finger technique. I call short bursts of tonguing or fingering patterns "sprints." Although slow practice is valuable for reinforcing proper technique and developing muscle memory, rapid playing cannot be mastered without practicing speed. Here is an exercise to increase tonguing speed. Be sure to push, or sprint, all the way to the end of the pattern. Do not slow down. 03:34 5
Practicing Weissenborn Study #8 /en/lessons/bdp116/#chapter-04-31 Finally, let's do a little more work with drones. Since the first line of this study features two chords— the tonic and the dominant— we can use a drone on the fifth scale degree to help improve intonation. In B-flat major, the fifth scale degree is F. Listen to this example of slow practice of the first line with an F drone. Example: F Drone 04:31 6
Practicing Weissenborn Study #8 /en/lessons/bdp116/#chapter-05-17 "The unexamined life is not worth living." (Socrates, Apology 38a) Then the LORD God called to Adam and said to him, "Where are you?" (NKJV, Genesis 3:9) Too often we try to avoid our problems. As I mentioned in this lesson, students frequently avoid the most difficult passages in a musical study. We also tend to avoid difficult areas of life. Sometimes we even avoid thinking about life's challenges. However, hiding from problems does not make them disappear. It is difficult to examine the issues that are harmful to our lives. In music, identifying problems is the most efficient way to master an exercise. Likewise, confronting a problem in life is the best place to begin finding a solution. 05:17 7
Practicing Weissenborn Study #9 /en/lessons/bdp117/ Practicing Weissenborn Study #9 Performance and practice suggestions for Julius Weissenborn's Bassoon Studies, Opus 8, Study #9 Practicing Weissenborn Study #9 (2014, BDP #117). The public domain music for Opus 8/2 – 50 Advanced Studies is available here: 0
Practicing Weissenborn Study #9 /en/lessons/bdp117/#chapter-00-19 Welcome, this is Terry Ewell. Study #9 presents many musical challenges. Perhaps the greatest challenge is coordinating breathing with musical phrasing. I encourage you to stop the video now and spend some time marking breaths in the music. Time spent doing this will prepare you to make better decisions in the future about where to breathe in music. By now you may have noticed in the previous videos that I have marked breaths in the music. Too often students do not consider where to breathe. Instead, they play until they make a mistake, breathe, then continue until the next mistake before breathing again. If practiced correctly, this study will force you to breathe only in musically appropriate places. 00:19 1
Practicing Weissenborn Study #9 /en/lessons/bdp117/#chapter-01-20 Let's establish some general principles for where to breathe. As wind players, we naturally need air in our lungs to play the instrument and avoid passing out. Beyond this physical need for air, however, we should also consider the musical placement of our breaths. 1. Breaths should coincide with musical phrasing whenever possible. 2. Place breaths in musically consistent locations. 3. As a last resort, breaths can be hidden between leaps or large intervals. I hope you have already examined Study #9 and identified the musical phrases. 01:20 2
Practicing Weissenborn Study #9 /en/lessons/bdp117/#chapter-02-29 In Western music, phrase endings are often indicated by a descending melodic line, longer note values at the end of the phrase, and a harmonic cadence. Furthermore, in this study, repeated patterns also help identify phrase boundaries. The study begins with two gestures, each consisting of three eighth notes followed by a half note. Measure 3 then continues with eighth-note patterns until reaching an E♭4 half note, which descends to an A♭3 half note in the second measure of the second line. Many students are tempted to take their first breath after the E♭4 because, by that point, the lungs need more air. However, that is the worst possible place to breathe. The E♭4 is the climax of the phrase that began in measure 3 and is clearly not the end of the musical thought. The phrase concludes in the second measure of line 2. Two Gestures Opening and Beginning of Line 2 02:29 3
Practicing Weissenborn Study #9 /en/lessons/bdp117/#chapter-03-21 Complicating the issue is the musical technique known as dovetailing. Dovetailing occurs when the end of one melody overlaps with the beginning of another. The term comes from carpentry, where pieces of wood are joined together. Thus, the second measure of line 2 serves two functions: it is both the conclusion of the previous phrase and the beginning of the opening gestures. 03:21 4
Practicing Weissenborn Study #9 /en/lessons/bdp117/#chapter-04-15 A breath is certainly possible after the A♭3 in line 2, measure 2, but I believe the better solution is to breathe after the second half note in line 2. For the sake of consistency, I also breathe after the second half note at the beginning of the study. The eighth-note pattern that begins in line 1, measure 3, is repeated one step higher in line 2, measure 3. This phrase ends on the downbeat of line 3, measure 2. A quick breath is appropriate there. A new musical pattern begins in line 3, measure 2. It is a sequence that continues to the top of the next page. Another quick breath should be taken at that point. Line 3 with Sequence Page 2 I will not comment further on breathing here, but I encourage you to study carefully the breath marks I have indicated in the music. Consider the musical decisions behind those choices. 04:15 5
Practicing Weissenborn Study #9 /en/lessons/bdp117/#chapter-04-55 Notice that staccato marks appear after slurs in the opening measures. Although they are not written throughout the remainder of the study, the leggiero character, with its light separation after slurs, should continue throughout the entire study. 04:55 6
Practicing Weissenborn Study #9 /en/lessons/bdp117/#chapter-05-13 "Play or practice only twenty-five minutes out of every thirty; get away from the instrument and do something else for the other five." (William J. Dawson, Fit as a Fiddle, p. 45) This is excellent advice. Personally, I practice in fifty-minute sessions followed by ten minutes of rest. This approach has served me well for many years. In addition, I often adjust my reeds during practice sessions, which provides further breaks from playing the instrument. Remember that being a musician is not a sprint— it is a marathon. Develop healthy practice habits that will serve you well for many years. 05:13 7
Practicing Weissenborn Study #10 /en/lessons/bdp118/ Practicing Weissenborn Study #10 Performance and practice suggestions for Julius Weissenborn's Bassoon Studies, Opus 8, Study #10 Practicing Weissenborn Study #10 (2014, BDP #118). The public domain music for Opus 8/2 – 50 Advanced Studies is available here: 0
Practicing Weissenborn Study #10 /en/lessons/bdp118/#chapter-00-00 Welcome, this is Terry Ewell. The tenth study by Weissenborn presents two specific challenges involving dotted eighth notes and sixteenth notes. Many students perform this rhythm as though it were a triplet rather than the correct dotted-eighth/sixteenth rhythm. I recognize that historically these rhythms may have been performed as triplets. See my article In Search of the Borrowed Triplet Upbeat, The Double Reed 31/3 (2008): 95–102. However, in this study we will perform the rhythm as written, using dotted eighth notes and sixteenth notes. Here is an example incorrectly performed as triplets. Example (Line 1) played with triplets. 00:00 1
Practicing Weissenborn Study #10 /en/lessons/bdp118/#chapter-01-23 If you err, it is better for the sixteenth notes to be slightly shorter than slightly longer. Study #36 presents similar rhythmic issues. Here is the example correctly performed with sixteenth notes. Example performed with sixteenth notes. 01:23 2
Practicing Weissenborn Study #10 /en/lessons/bdp118/#chapter-01-55 The second issue is that this rhythm often causes students to accent or pulse the longer note— the dotted eighth note. As a result, the shorter note becomes less audible, and the smooth melodic line is interrupted. Example poorly played. Example played correctly. 01:55 3
Practicing Weissenborn Study #10 /en/lessons/bdp118/#chapter-02-39 There are two places in the study where students often change the tempo. The second measure of the second line is frequently rushed. Also, work carefully with a metronome in the passages containing sixteenth-note triplets in the final two lines. I prefer to phrase the opening section in four-measure units. In the middle section, up to the fourth line, I use two-measure phrases. Line 1 Phrasing Line 4 Phrasing 02:39 4
Practicing Weissenborn Study #10 /en/lessons/bdp118/#chapter-03-09 "Some simple techniques can decrease excessive pressure on wind instrumentalists' hands and fingers." (William J. Dawson, Fit as a Fiddle, p. 43) I remember that, as a student and young professional, I was reluctant to use a neck strap in addition to the seat strap. I viewed it as a sign of weakness. However, after an injury to my left shoulder, I was forced to use additional support for the bassoon on a regular basis. I immediately noticed not only relief in my left shoulder, but also less weight on my left hand. My left-hand fingers could move more freely as well. After that experience, I never returned to using only the seat strap. Tall players with long torsos place more of the bassoon's weight on the left hand than shorter players. Although the neck strap was a significant improvement for me, it also placed additional pressure on my neck and back muscles. More recently, I have been using a body harness instead of a neck strap. The body harness has worked extremely well for me. I encourage you to consider using a body harness together with a seat strap when playing the bassoon. 03:09 5
Practicing Weissenborn Study #11 /en/lessons/bdp119/ Practicing Weissenborn Study #11 Weissenborn Opus 8/2, Study #11 for advanced bassoon students. Practicing difficult finger patterns with short sprints. Further discussion of healthy practice methods. By Terry B. Ewell, Bassoon Digital Professor. Weissenborn Opus 8/2, Study #11 for advanced bassoon students. Practicing difficult finger patterns with short sprints. Further discussion of healthy practice methods. By Terry B. Ewell, Bassoon Digital Professor. BDP #119. 0
Practicing Weissenborn Study #11 /en/lessons/bdp119/#chapter-0-19 Hello, this is Terry Ewell. This study is misplaced in the collection of the 50 Advanced Studies. It is far too difficult to be Study No. 11. In Weissenborn's original edition of 60 studies, it was numbered 57 and placed in a section titled Studies of Virtuosity. It is one of the most difficult studies in the collection. Sprint Practice 1
Practicing Weissenborn Study #11 /en/lessons/bdp119/#chapter-0-51 In addition to practicing with rhythms, you will also need to do sprints. A sprint is running very fast over a short distance. Likewise, in music I practice very small segments at extremely fast speeds. Connecting Practice Segments 2
Practicing Weissenborn Study #11 /en/lessons/bdp119/#chapter-1-27 I then connect these smaller segments to form a larger segment. 3
Practicing Weissenborn Study #11 /en/lessons/bdp119/#chapter-1-49 Each of these larger segments is then connected to create even longer sections. Practicing from the End 4
Practicing Weissenborn Study #11 /en/lessons/bdp119/#chapter-2-07 Notice that I begin practicing from the end of the segment rather than the beginning. Playing the ending more frequently gives me confidence that I will finish successfully. Endings are often the most difficult because our concentration has already been taxed by so many notes. Using this approach, I gradually work the entire study up to the faster tempo. Mental Strategies for Speed 5
Practicing Weissenborn Study #11 /en/lessons/bdp119/#chapter-2-33 Playing rapidly is often not just a matter of good practice habits but also of developing the proper mental approach. The way you think about the notes can help you perform fast passages more effectively. In the last three measures of line three, I find it especially helpful to think only about the ascending scale—the first note of each group. 6
Practicing Weissenborn Study #11 /en/lessons/bdp119/#chapter-3-07 I then concentrate on that scale, allowing my fingers to follow naturally through the descending notes. Even so, it remains a difficult passage, and I did not perform it perfectly at the end of this video. Alternate Fingerings 7
Practicing Weissenborn Study #11 /en/lessons/bdp119/#chapter-3-28 I use two alternate fingerings in this study. In line three, measure one, I use an alternate fingering for F♯4. For C♯4, I use only the left-hand fingering. Schumann Inspiration 8
Practicing Weissenborn Study #11 /en/lessons/bdp119/#chapter-3-47 This study was inspired by a passage from Robert Schumann's Symphony in B-flat. Students should practice that passage as well. Shape the phrase by driving toward the accented C-sharp. 9
Practicing Weissenborn Study #11 /en/lessons/bdp119/#chapter-4-03 > "Vary the musical stress in each practice session. Don't concentrate on a single piece or passage for long intervals..." > > William J. Dawson, Fit as a Fiddle, p. 46 10
Practicing Weissenborn Study #11 /en/lessons/bdp119/#chapter-4-25 I have intentionally presented material on healthy practice habits in the previous reflections to prepare you for this study. If you have not read the reflections for Lessons 9 and 10, I encourage you to do so. 11
Practicing Weissenborn Study #11 /en/lessons/bdp119/#chapter-4-40 Healthy Practice Habits 12
Practicing Weissenborn Study #11 /en/lessons/bdp119/#chapter-5-50 Endurance and Injury Prevention 13
Study #12 /en/lessons/bdp120/ Study #12 Weissenborn Opus 8/2, Study #12 for advanced bassoon students. Control of breathing, dynamics, slow finger motion, and the meaning of rinforzando (rFp). Weissenborn Opus 8/2, Study #12 for advanced bassoon students. Control of breathing, dynamics, slow finger motion, and the meaning of rinforzando (rFp). 0
Study #12 /en/lessons/bdp120/#chapter-00-00 Welcome to this video on Weissenborn Study #12. This study tests the student's control over breathing, dynamics, and slow finger motions. I spoke earlier in Lesson 9 about where to breathe. If you have not yet viewed that video, I encourage you to do so. That video provides information on breathing choices that enhance musical phrases. 00:00 1
Study #12 /en/lessons/bdp120/#chapter-00-18 This study contains the first of many uses of rinforzando by Weissenborn in his 50 Studies. Despite its ample examples in the studies, I have yet to find a student who knows the meaning of the marking. rFp, rF, or rFz is a special stress, literally a reinforcing of the note. 00:18 2
Study #12 /en/lessons/bdp120/#chapter-01-03 Weissenborn provides a key to understanding the use of this marking in Study 35. Study 35 demonstrates that rinforzando in the quieter dynamics is similar to sforzando in the louder dynamics. In Study 12 the p or piano after the rF means that the volume should return to piano after the rinforzando. "Garbage In, Garbage Out (GIGO)" 01:03 3
Study #12 /en/lessons/bdp120/#chapter-2-08 Study #35 Comparison 4
Study #12 /en/lessons/bdp120/#chapter-02-58 This is an old saying in computer programming. It meant that the quality of information given by a computer program was only as good as the quality of information given to it. If you give a computer program poor or nonsensical information, it will produce poor-quality information. 02:58 5
Study #12 /en/lessons/bdp120/#chapter-03-25 Your output—your musical performances, your health, your conversations with others, the sum total of your life—is directly dependent upon what you are putting into your body, mind, and soul. Be sure to consider carefully what you are viewing, eating, and learning. 03:25 6
Practicing Weissenborn Study #13 /en/lessons/bdp121/ Practicing Weissenborn Study #13 Weissenborn Opus 8/2, Study #13 for advanced bassoon students. Comments include playing on the wind, flicking, and alternate fingerings. By Terry B. Ewell, Bassoon Digital Professor. BDP #121. Weissenborn Opus 8/2, Study #13 for advanced bassoon students. Comments include playing on the wind, flicking, and alternate fingerings. By Terry B. Ewell, Bassoon Digital Professor. BDP #121 • www.2reed.net 0
Practicing Weissenborn Study #13 /en/lessons/bdp121/#section-01 Welcome, this is Terry Ewell. Weissenborn Study #13 begins with a tongued run that is best played "on the wind." By this I mean that the player should provide the same air support and phrase shaping as if the notes were slurred. Avoid excessive jaw movement whenever possible. Instead, shape the length of the notes with the tongue. For further information on playing on the wind, please see Bassoon Digital Professor Video #56. https://www.2reed.net/bdp/home.html#bdp56 Avoid pulsing on the dotted quarter notes. Students often play them with unnecessary emphasis. Instead, the melodic line should remain smooth and uninterrupted without extra accents on the dotted notes. There are several common counting errors in this study. Be sure that the quarter note followed by the eighth rest in the first line is counted accurately. Also, do not add an extra beat after the A4 at the end of the second line. I use alternate fingerings to help perform the sixteenth-note passages in line three. Normally I play G4 with the whisper key depressed. Here, however, I leave the whisper key off so that I can move quickly to the left-hand-only fingering for A4. You can also view my standard bassoon fingerings here: https://www.2reed.net/EwellArticles/BsnFingerings.pdf The C flick key is best held down for repeated tongued notes in scales containing A3, B♭3, B3, and C4. For example, in line five, measures four through six, the C flick key should remain depressed to improve articulation as illustrated below. This technique is also used in the second measure of the study and in several other places. I also use the flick key for slurred intervals of a third or larger. For example, I flick the A3 at the end of line six. When Weissenborn places a fermata in the music, he generally implies a slight rallentando, or slowing down, before the fermata. Sometimes he writes this explicitly in the music, and sometimes he leaves it to the performer. 1
Practicing Weissenborn Study #13 /en/lessons/bdp121/#section-02 > "Infinite striving to be the best is man's duty; it is its own reward. Everything else is in God's hands." > — Mahatma Gandhi The 2014 Winter Olympics in Sochi were concluding as I wrote this reflection. One of the greatest factors contributing to the excellence of elite athletes is the outstanding quality of their coaches. Many athletes travel to different parts of the United States—or even immigrate to other countries—to work with the finest coaches in their events. I am delighted that you have chosen to watch this video and the others in this series. I hope they provide you with excellent instruction. However, these videos alone are not enough. Seek out the very best teachers for your instrument and, indeed, the best coaches and mentors for your life. Do not settle for mediocrity. The Olympic spirit is characterized by striving for excellence through training with the very best. 2
Practicing Weissenborn Study #14 /en/lessons/bdp122/ Practicing Weissenborn Study #14 Weissenborn Opus 8/2, Study #14 for advanced bassoon students. Comments include triplet interpretation, phrase shaping, and dynamics. By Terry B. Ewell, Bassoon Digital Professor. BDP #122. Weissenborn Opus 8/2, Study #14 for advanced bassoon students. Topics include: - Triplet interpretation - Phrase shaping - Dynamics By Terry B. Ewell, Bassoon Digital Professor. BDP #122 • www.2reed.net 0
Practicing Weissenborn Study #14 /en/lessons/bdp122/#chapter-0-20 Welcome, this is Terry Ewell. There are triplet indications given in the first measure of Study #14. Although they are not printed throughout the music, they continue for the entire study. In this study, avoid accenting the beats. Instead, bring out longer musical phrases. Play the study as a melody rather than as a series of accented beats. The study provides no dynamic markings beyond the opening poco F, which literally means "a little loud." I have added additional dynamic markings to provide greater musical expression. Feel free to use them if you find them helpful. 1
Practicing Weissenborn Study #14 /en/lessons/bdp122/#chapter-0-23 Triplet Feel Throughout the Study 2
Practicing Weissenborn Study #14 /en/lessons/bdp122/#chapter-0-35 Avoid Accenting the Beats 3
Practicing Weissenborn Study #14 /en/lessons/bdp122/#chapter-0-59 Play as a Melody 4
Practicing Weissenborn Study #14 /en/lessons/bdp122/#chapter-1-02 Dynamics and poco F 5
Practicing Weissenborn Study #14 /en/lessons/bdp122/#chapter-1-18 > "...who do you say that I am?" > — Jesus (NKJV, Mark 8:29) This is arguably the most important question you will answer in your life. Your response determines how you understand and accept Jesus' teaching and life mission. Jesus was the most influential person who has ever lived. Our annual calendar commemorates the date of His birth. Consider how many books have been written in His honor. Many languages established their written alphabets and first dictionaries through the work of His devoted followers. His words have been translated into more languages than those of any other person. Many of the earliest universities in Europe and America were founded by His followers. In many parts of the world, medicine and charitable work were advanced by those who embraced His teachings. He has inspired countless painters, sculptors, poets, filmmakers, and musicians. Many composers in the Western musical tradition were also influenced by Jesus. In the next video, we will see that Julius Weissenborn likewise composed music in His honor. 6
Practicing Weissenborn Study #14 /en/lessons/bdp122/#chapter-1-22 "Who Do You Say That I Am?" 7
Practicing Weissenborn Study #14 /en/lessons/bdp122/#chapter-1-39 The Influence of Jesus 8
Practicing Weissenborn Study #14 /en/lessons/bdp122/#chapter-2-10 Influence on Education and the Arts 9
Practicing Weissenborn Study #14 /en/lessons/bdp122/#chapter-2-34 Weissenborn and Sacred Music 10
Information on Weissenborn /en/lessons/bdp123/ Information on Weissenborn Background information on Julius Weissenborn, Opus 8 Bassoon Studies, and the Trio for Three Bassoons. By Terry B. Ewell, Bassoon Digital Professor. BDP #123. YouTube information on Julius Weissenborn, his Opus 8 Bassoon Studies, and the Trio for Three Bassoons. Performers of the trio: - Arthur Grossman - Bruce Grainger - Terry B. Ewell By Terry B. Ewell, Bassoon Digital Professor. BDP #123 • www.2reed.net 0
Information on Weissenborn /en/lessons/bdp123/#chapter-00-00 Welcome, this is Terry Ewell. 1. In this video I provide some background on the Opus 8/2 Bassoon Studies and Weissenborn. Several years ago I recorded a performance and instructional video on Study #15. Please refer to those videos separately. http://www.2reed.net/bdp/home.html#bdp39 2. Christian Julius Weissenborn (April 13, 1837 – April 21, 1888) came from a family of musicians. His father and brother were both bassoonists. He enjoyed a distinguished career as principal bassoonist of the Leipzig Gewandhaus Orchestra. His appointment as professor at the Leipzig Conservatory led to the composition of many important teaching materials for the bassoon. 3. The Practical Bassoon School and the two collections of studies in Opus 8 provide a solid foundation for the study of the bassoon. Their importance is demonstrated by the fact that these studies are used throughout the world. No doubt you are watching this video because you have a copy of the Bassoon Studies in your hands. 4. The Opus 8/2 studies should be performed with Weissenborn's earlier studies in mind. For example, in Opus 8/1 Weissenborn explains the performance of grace notes, trills, other ornaments, and articulations. 5. William Waterhouse notes that Weissenborn originally conceived Opus 8/2 as a collection of sixty studies. Before publication, approximately forty-eight pages of musical material were removed. The thematic openings of the ten lost studies survive in a manuscript held in a London collection, but the complete music for those studies has not yet been recovered. 6. In addition to composing studies for the bassoon, Weissenborn wrote orchestral, choral, and vocal works. He also composed a well-known trio for three bassoons, which we will now consider. 00:00 1
Information on Weissenborn /en/lessons/bdp123/#chapter-00-19 Background on Opus 8/2 00:19 2
Information on Weissenborn /en/lessons/bdp123/#chapter-00-43 Julius Weissenborn 00:43 3
Information on Weissenborn /en/lessons/bdp123/#chapter-01-15 Practical Bassoon School and Opus 8 01:15 4
Information on Weissenborn /en/lessons/bdp123/#chapter-01-40 Relationship to Opus 8/1 01:40 5
Information on Weissenborn /en/lessons/bdp123/#chapter-01-49 The Lost Studies 01:49 6
Information on Weissenborn /en/lessons/bdp123/#chapter-02-20 The Trio for Three Bassoons 02:20 7
Information on Weissenborn /en/lessons/bdp123/#chapter-02-35 Whoever lets only the dear God reign and hopes in Him at all times, He will preserve in a marvelous way in every cross and sadness. Whoever trusts in almighty God has not built upon sand. (Accessed 19 Feb. 2014: http://www.bach-cantatas.com/Texts/Chorale052-Eng3.htm) 8. This is a translation of German poetry written by Georg Neumark. The reference to the cross is to Jesus' crucifixion (and the sacrifice of His followers). The reference to sand comes from Jesus' teaching in the Sermon on the Mount. The passage about sand is found in Matthew 7:24–29. These are the words that accompanied the melody chosen by Weissenborn in the first movement of his Trio for Three Bassoons. 9. Georg Neumark expressed his faith in God and in the teachings of Jesus through this poetry and music. Many composers, including J. S. Bach and Julius Weissenborn, were inspired to set Neumark's melody. 10. Weissenborn quotes this melody in the cantus firmus sections of the trio. Its first appearance is in the third bassoon part. The melody heard in the 4/4 section is also related to the same hymn tune. 11. Here is a portion of the trio containing the same hymn melody chosen by Weissenborn. You can hear the complete trio by downloading the recording from the Wikipedia article on Weissenborn. http://en.wikipedia.org/wiki/Julius_Weissenborn Performance Arthur Grossman was one of the most widely recorded chamber musicians and bassoon soloists in the United States. He performed extensively with Soni Ventorum throughout the United States and internationally for the U.S. State Department. He recorded numerous chamber and solo works, served as principal bassoon of the Indianapolis Symphony Orchestra and the Cincinnati Symphony Orchestra, participated in the Marlboro Music Festival, was guest principal bassoon of the Israel Philharmonic Orchestra during the 1977–78 season, and appeared as an invited artist at the First International Arts Festival of the Republic of China in 1980. Bruce Grainger became second bassoonist of the Seattle Symphony in 1978. Eight years later he was appointed assistant principal bassoon of the Chicago Symphony Orchestra. He also served on the faculty of DePaul University and was a member of the Chicago Chamber Musicians. He died in Chicago after a long illness at the age of forty-two. Terry Ewell served as principal bassoon of the Hong Kong Philharmonic (1979–1986), the Wheeling Symphony Orchestra (1992–1996), and the Mid-Atlantic Symphony Orchestra (2010–present). Further information about Dr. Ewell is available at: http://www.terryewell.com 02:35 8
Information on Weissenborn /en/lessons/bdp123/#chapter-02-36 Georg Neumark Hymn 02:36 9
Information on Weissenborn /en/lessons/bdp123/#chapter-03-00 The Cross and the Sermon on the Mount 03:00 10
Information on Weissenborn /en/lessons/bdp123/#chapter-03-25 Neumark's Influence 03:25 11
Information on Weissenborn /en/lessons/bdp123/#chapter-03-42 Cantus Firmus in the Trio 03:42 12
Information on Weissenborn /en/lessons/bdp123/#chapter-03-58 Trio Example 03:58 13
Information on Weissenborn /en/lessons/bdp123/#chapter-04-04 Recording Information 04:04 14
Information on Weissenborn /en/lessons/bdp123/#chapter-04-26 Arthur Grossman 04:26 15
Information on Weissenborn /en/lessons/bdp123/#chapter-05-17 Bruce Grainger 05:17 16
Information on Weissenborn /en/lessons/bdp123/#chapter-05-56 Terry Ewell 05:56 17
Information on Weissenborn /en/lessons/bdp123/#chapter-06-19 Sources and Credits 06:19 18
Practicing Weissenborn Study #16 /en/lessons/bdp124/ Practicing Weissenborn Study #16 Weissenborn Opus 8/2, Study #16 for advanced bassoon students. More examples of practicing with rhythms and sprints. Bach's Bible. Guest performer Martha Schulenburg. By Terry B. Ewell, Bassoon Digital Professor. BDP #124. Weissenborn Opus 8/2, Study #16 for advanced bassoon students. Topics include: - Practicing with rhythms - Sprint practice - Finger technique - Flick keys - Bach's Bible Guest performer: Martha Schulenburg By Terry B. Ewell, Bassoon Digital Professor. BDP #124 • www.2reed.net 0
Practicing Weissenborn Study #16 /en/lessons/bdp124/#chapter-0-19 Welcome, this is Terry Ewell. Study #16 emphasizes excellent finger technique. The sixteenth-note runs should be fluid, with smooth and even finger motion. Fast-moving sixteenth notes are best mastered with rhythms that emphasize multiple quick notes. Dotted rhythms, for example, are not especially helpful for mastering this study. 1
Practicing Weissenborn Study #16 /en/lessons/bdp124/#chapter-0-21 Finger Technique 2
Practicing Weissenborn Study #16 /en/lessons/bdp124/#chapter-0-38 Effective Rhythm Practice 3
Practicing Weissenborn Study #16 /en/lessons/bdp124/#chapter-0-51 Instead, rhythms using eighth notes with triplet sixteenths are much more effective because they force the fingers to move rapidly through groups of notes. 4
Practicing Weissenborn Study #16 /en/lessons/bdp124/#chapter-1-16 Sprints are another excellent way to master this study. In fact, this is the best practice method to use here. Line 5, for example, contains several difficult finger combinations. Here is a sequence of sprints for practicing the first measure. Practice each sprint until you have mastered it at a tempo faster than your intended performance speed. Notice that I begin from the end of the passage and gradually add more notes while working backward through the music. 5
Practicing Weissenborn Study #16 /en/lessons/bdp124/#chapter-2-16 This type of practice should be applied to every measure in the line. Once each measure has been mastered, connect them together until you can play the entire line fluently. 6
Practicing Weissenborn Study #16 /en/lessons/bdp124/#chapter-2-26 Of course, you will need to use the flick keys for the slurs to B-flat 3 and D4 in line 8. 7
Practicing Weissenborn Study #16 /en/lessons/bdp124/#chapter-2-44 If you are unable to play the passage in lines 6 through 8 in a single breath, I suggest taking breaths at the beginnings of lines 7 and 8. Neither breath is ideal, however, because breathing there delays the downbeat. 8
Practicing Weissenborn Study #16 /en/lessons/bdp124/#chapter-3-06 Soli Deo Gloria (To the Glory of God Alone) Weissenborn expressed his faith in God through his choice of hymn tune in his Trio. Johann Sebastian Bach likewise demonstrated his faith in nearly every musical work he composed. He wrote the initials S.D.G. at the end of all of his church compositions and many of his secular works. This abbreviation stands for the Latin phrase Soli Deo Gloria, meaning "To the glory of God alone." 9
Practicing Weissenborn Study #16 /en/lessons/bdp124/#chapter-3-34 Bach did not express his faith only in public. There are also many examples of his private devotion to God. One of my treasured books is a reproduction of pages from Bach's Bible. It contains his underlinings, comments, and notes in the margins. Despite his demanding schedule and the responsibilities of a large family, Bach still made time to read the Bible. His notes reveal a deep commitment to learning more about God. 10
Practicing Weissenborn Study #17 /en/lessons/bdp125/ Practicing Weissenborn Study #17 Weissenborn Opus 8/2, Study #17 for advanced bassoon students. Using the alternate F# fingering. Stravinsky's healing. Guest performer Sojung Kwon. By Terry B. Ewell, Bassoon Digital Professor. BDP #125. Weissenborn Opus 8/2, Study #17 for advanced bassoon students. Topics include: - Slurred eighth-note articulation - Breathing strategy - Alternate F♯ fingering - Thumb motion to B♭ - Stravinsky's healing Guest performer: Sojung Kwon By Terry B. Ewell, Bassoon Digital Professor. BDP #125 • www.2reed.net 0
Practicing Weissenborn Study #17 /en/lessons/bdp125/#chapter-0-19 Welcome, this is Terry Ewell. In Study #17 Weissenborn does not give staccato markings at the end of slurred pairs. This is different from Study #6, where staccato marks are given with each pair of slurred notes. 1
Practicing Weissenborn Study #17 /en/lessons/bdp125/#chapter-0-21 Slurred Eighth Notes 2
Practicing Weissenborn Study #17 /en/lessons/bdp125/#chapter-0-47 Therefore, the eighth notes should be rather connected, and they should be separated only briefly with the tongue between the slurs. 3
Practicing Weissenborn Study #17 /en/lessons/bdp125/#chapter-0-59 You will notice in line 4 that I have indicated two breaths quite early in the phrase. This is in order to keep air in the lungs to complete the phrase and also to avoid large gaps when breathing is needed in line 5. Similar breathing choices are made later in the study as well. 4
Practicing Weissenborn Study #17 /en/lessons/bdp125/#chapter-1-09 I have mentioned before that the quickest way to breathe is by dropping the jaw rather than raising the head. I encourage you to practice this study breathing that way. 5
Practicing Weissenborn Study #17 /en/lessons/bdp125/#chapter-1-20 The alternate F♯ fingerings in line 7 help facilitate the movement to B♭3. 6
Practicing Weissenborn Study #17 /en/lessons/bdp125/#chapter-1-36 There will be many examples in the Fifty Studies where those two notes (F♯ and B♭) are slurred. Leaping the thumb over the E key (the pancake key) will interrupt the slur. 7
Practicing Weissenborn Study #17 /en/lessons/bdp125/#chapter-1-48 Practice the motion from the little-finger F♯ to the thumb B♭ until you have mastered it. 8
Practicing Weissenborn Study #17 /en/lessons/bdp125/#chapter-2-06 > "I sat down, removed the little bandage, felt the pain had suddenly stopped, and discovered that the finger was—miraculously, it seemed to me—healed." > > — Igor Stravinsky > > (Igor Stravinsky and Robert Craft, Dialogues and a Diary (Garden City: Doubleday & Co., Inc., 1962), p. 9.) 9
Practicing Weissenborn Study #17 /en/lessons/bdp125/#chapter-2-19 We saw in the last video that J. S. Bach's encounters with God are reflected in his music and in his study of the Bible. Igor Stravinsky's encounters with God occurred in different circumstances. 10
Practicing Weissenborn Study #17 /en/lessons/bdp125/#chapter-2-34 Stravinsky gained great fame with his compositions based on pagan rituals and Russian folk tales during the 1910s. Later, in the mid-1920s, however, his spiritual life was transformed. Stravinsky stated that two events led to his faith in God: 1. A convincing answer to a private prayer. 2. The healing of his finger immediately before a performance of his Piano Sonata. These two experiences had such a profound effect on his life that he dedicated his next major orchestral work, Symphony of Psalms, to the glory of God. 11
Practicing Weissenborn Study #17 /en/lessons/bdp125/#chapter-3-17 If you are interested in reading more about composers' encounters with God, I recommend Patrick Kavanaugh's The Spiritual Lives of Great Composers. It tells the stories of many musicians, both well known and obscure, who chose to follow the teachings of Jesus. 12
Practicing Weissenborn Study #18 /en/lessons/bdp126/ Practicing Weissenborn Study #18 Weissenborn Opus 8/2, Study #18 for advanced bassoon students. Downward slurs. Practicing with rhythms that break pairings and create metric displacement. By Terry B. Ewell, Bassoon Digital Professor. BDP #126. Weissenborn Opus 8/2, Study #18 for advanced bassoon students. Topics include: - Downward slurs - Register balance - Alternate F♯ fingering - Rhythms that break pairings - Metric displacement - Hearing God's voice By Terry B. Ewell, Bassoon Digital Professor. BDP #126 • www.2reed.net 0
Practicing Weissenborn Study #18 /en/lessons/bdp126/#chapter-0-18 Welcome, this is Terry Ewell. 1
Practicing Weissenborn Study #18 /en/lessons/bdp126/#chapter-0-21 Study #18 focuses on mastering two techniques that are especially challenging on the bassoon: downward slurs and register balance. On the bassoon it is natural to emphasize the lower note when slurring a large interval. However, these downward slurs should be performed without accenting the lower note. In fact, Weissenborn indicates that the upper note should receive the accent, allowing the lower note to resolve gracefully. In this study, the accents are produced with increased air support on the upper notes, followed by a diminuendo to the lower notes. 2
Practicing Weissenborn Study #18 /en/lessons/bdp126/#chapter-1-15 The alternate F-sharp fingering in line 7 helps facilitate the motion to B-flat 3. I mentioned the use of the little-finger F-sharp key in the previous study, and I hope you have adopted that technique. 3
Practicing Weissenborn Study #18 /en/lessons/bdp126/#chapter-1-35 The second-to-last line in the study requires special attention. These large leaps involve awkward finger patterns. I recommend two practice methods here, as well as anywhere else they are needed in the study. 1) Rhythms that break pairings 4
Practicing Weissenborn Study #18 /en/lessons/bdp126/#chapter-2-13 Practice both rhythm patterns: eighth notes followed by sixteenth notes, and sixteenth notes followed by eighth notes. 2) Metric displacement 5
Practicing Weissenborn Study #18 /en/lessons/bdp126/#chapter-2-22 Metric Displacement 6
Practicing Weissenborn Study #18 /en/lessons/bdp126/#chapter-2-40 > "My sheep hear My voice, and I know them, and they follow Me." > > (John 10:27, NKJV) 7
Practicing Weissenborn Study #18 /en/lessons/bdp126/#chapter-3-04 These are words that Jesus spoke about His followers—His sheep. In the previous video we saw that Stravinsky's transformation was due in part to an answer to prayer. He heard God's voice and chose to follow Him. 8
Practicing Weissenborn Study #18 /en/lessons/bdp126/#chapter-3-23 So how does a person know whether it is the voice of God speaking or the voice of evil forces? In the next few reflections I summarize an article by Harry Leesment that has been helpful to me and to many others. 1. Tone of voice. God's Spirit is gentle and imploring. In contrast, evil forces are accusatory and belittling. Those other voices are harsh. 9
Practicing Weissenborn Study #18 /en/lessons/bdp126/#chapter-3-40 2. Specific vs. vague. The Spirit of God points to specific actions you should take to correct your relationship with God and with others. The other voices tell you that everything is wrong and there is really nothing you can do to fix it. God directs you to a way out; the others insist there is no way to free yourself. 10
Practicing Weissenborn Study #18 /en/lessons/bdp126/#chapter-4-12 3. Encouragement vs. discouragement. God's message encourages us to rely on His power rather than our own. The other voices attack people and leave them discouraged. 11
Practicing Weissenborn Study #19 /en/lessons/bdp127/ Practicing Weissenborn Study #19 Weissenborn Opus 8/2, Study #19 for advanced bassoon students. Further rhythmic practice including rhythms that break triplet groupings. Guest performer Genesis Neely. Weissenborn Opus 8/2, Study #19 for advanced bassoon students. Topics include: - Rhythmic practice - Sprints - Beat displacement - Rhythms that break triplet groupings - Hearing God's voice (Part 2) Guest performer: Genesis Neely By Terry B. Ewell, Bassoon Digital Professor. BDP #127 • www.2reed.net 0
Practicing Weissenborn Study #19 /en/lessons/bdp127/#chapter-0-19 Welcome, this is Terry Ewell. 1
Practicing Weissenborn Study #19 /en/lessons/bdp127/#chapter-0-22 Study 19 is like a marathon! It demands concentration to accurately perform all the notes from beginning to end. Furthermore, the performer must do so while breathing at widely spaced intervals, resulting in progressively lower oxygen levels. 2
Practicing Weissenborn Study #19 /en/lessons/bdp127/#chapter-0-52 In addition to practicing short sections with sprints, beat displacement using rhythms can help you master this study. For example, here are the two obvious beat divisions using rhythms beginning in line 7. 3
Practicing Weissenborn Study #19 /en/lessons/bdp127/#chapter-1-01 Rhythms Beginning in Line 7 4
Practicing Weissenborn Study #19 /en/lessons/bdp127/#chapter-1-35 However, for even greater mastery, try imposing a pattern of four notes over the triplets. 5
Practicing Weissenborn Study #19 /en/lessons/bdp127/#chapter-2-02 > "...he goes before them; and the sheep follow him, for they know his voice." > > (John 10:4, NKJV) 6
Practicing Weissenborn Study #19 /en/lessons/bdp127/#chapter-2-23 This is the second of three reflections on hearing God's voice. If you have not listened to the first reflection contained in the video on Weissenborn Study #18, I encourage you to do so. 7
Practicing Weissenborn Study #19 /en/lessons/bdp127/#chapter-2-37 Here are some further summaries of the article by Harry Leesment. These comments help clarify the difference between God's voice and the destructive voices of adversaries. 4. Forget the past vs. remember the past. God forgives our sins and our mistakes. The adversary loves to replay the "videos" of our past wrongdoings. 8
Practicing Weissenborn Study #19 /en/lessons/bdp127/#chapter-2-57 5. Attraction to God vs. rejection. The Spirit of God draws us toward God. Evil forces convince people that they are unworthy and rejected by God. 9
Practicing Weissenborn Study #19 /en/lessons/bdp127/#chapter-3-15 6. Rightly brings the Bible vs. distorts the Bible. The Spirit of God is given to help us understand the Bible. Adversaries, however, seek to twist its words and meanings. 10
Practicing Weissenborn Study #19 /en/lessons/bdp127/#chapter-3-33 7. Draws you into fellowship vs. isolates. God desires a family—a community of people who believe in Him. The adversaries desire isolated individuals who are easier to destroy. 11
Practicing Weissenborn Study #20 /en/lessons/bdp128/ Practicing Weissenborn Study #20 Weissenborn Opus 8/2, Study #20 for advanced bassoon students. Topics include thanks to student participants, double breath signs, marking whole steps, and stabilizing B♭3. Weissenborn Opus 8/2, Study #20 for advanced bassoon students. Topics include: - Thanks to student participants - Double breath signs - Maintaining oxygen levels - Subdividing dotted-quarter rhythms - Marking whole steps - Stabilizing B♭3 - Alternate fingering for B♭3 - Holding the C flick key - Hearing God's voice (Part 3) By Terry B. Ewell, Bassoon Digital Professor. BDP #128 • www.2reed.net 0
Practicing Weissenborn Study #20 /en/lessons/bdp128/#chapter-0-19 Welcome to Weissenborn Study #20. 1
Practicing Weissenborn Study #20 /en/lessons/bdp128/#chapter-0-23 I want to include my thanks to the students who have helped me with this project. Without their assistance recording the videos, I probably would not have been able to provide an edited performance video for every study. Originally, when I began this project, I did not intend to record a performance video for every study. 2
Practicing Weissenborn Study #20 /en/lessons/bdp128/#chapter-1-06 Even with their help, however, I did not have enough recording time in the hall or the endurance to play every note in all of the studies. For example, on the day I recorded the performance of this study, I also recorded fourteen other studies. 3
Practicing Weissenborn Study #20 /en/lessons/bdp128/#chapter-1-38 In Study #20 I have indicated several double breath signs. These designate places where I need to inhale as much air as possible. The reason is not only to supply enough air for the lungs, but also to maintain oxygen levels that help sustain concentration. I find that I make more mistakes at the ends of phrases when my lungs have lower oxygen levels. 4
Practicing Weissenborn Study #20 /en/lessons/bdp128/#chapter-2-16 One important way to maintain good oxygen levels is to exhale the residual air from your lungs before taking a large breath. Therefore, when you begin the first line, do not completely fill your lungs. Expel most of your air while playing before taking the larger breath during the quarter rest in line one. Before the meno mosso, completely exhale before taking a deep breath. This is a key strategy for playing the long phrase all the way to the end. 5
Practicing Weissenborn Study #20 /en/lessons/bdp128/#chapter-2-53 Students often rush the dotted quarter notes. Subdivide these dotted quarter notes. Take line four as an example. You can first practice by tonguing all of the eighth notes, and then perform the passage as written. 6
Practicing Weissenborn Study #20 /en/lessons/bdp128/#chapter-3-11 This study features chromatic scales ascending and descending. However, there are several places where the chromatic motion is interrupted by whole steps. One way to avoid mistakes is to mark those whole steps. I use square brackets above the notes. 7
Practicing Weissenborn Study #20 /en/lessons/bdp128/#chapter-3-33 B♭3 is an unstable note on the bassoon, particularly at the end of a phrase where a diminuendo is required. For example, the famous solo in the second movement of Tchaikovsky's Fourth Symphony ends on this B♭. I will play the last three measures. 8
Practicing Weissenborn Study #20 /en/lessons/bdp128/#chapter-3-50 I add the D♭ key to help stabilize the note at the end of the Tchaikovsky solo. This alternate fingering also works for the last note at the end of the sixth line. 9
Practicing Weissenborn Study #20 /en/lessons/bdp128/#chapter-3-58 In the meno mosso, hold down the C flick key for multiple notes. In the first measure this is done for C4, B3, B♭3, and A3. 10
Practicing Weissenborn Study #20 /en/lessons/bdp128/#chapter-4-12 > “…when He, the Spirit of truth, has come, He will guide you into all truth; for He will not speak on His own authority, but whatever He hears He will speak; and He will tell you things to come.” > > (John 16:13, NKJV) 11
Practicing Weissenborn Study #20 /en/lessons/bdp128/#chapter-4-31 This is the third of three reflections on hearing God's voice. If you have not listened to the first reflection contained in the video on Weissenborn Study #18, I encourage you to do so. 12
Practicing Weissenborn Study #20 /en/lessons/bdp128/#chapter-4-46 8. Discipline vs. destruction. God's Spirit disciplines us, and this makes us stronger. The adversaries seek to tear us down. Do not think that because God is full of love, He has no interest in correcting us and helping us grow. He is a good parent, not a neglectful parent. 13
Practicing Weissenborn Study #20 /en/lessons/bdp128/#chapter-5-10 9. Reassures vs. accuses. These two words perhaps best describe the differences between God and the adversaries. 14
Practicing Weissenborn Study #20 /en/lessons/bdp128/#chapter-5-24 10. Facts of the Word vs. feelings. The Spirit of God brings forth the facts. The adversaries want our feelings to override the truth. 15
Practicing Weissenborn Study #20 /en/lessons/bdp128/#chapter-5-40 I pray that you will listen to God's voice and have His blessings in your life. 16
Weissenborn Study #21, Part A /en/lessons/bdp129a/ Weissenborn Study #21, Part A Weissenborn Opus 8/2, Study #21 for advanced bassoon students. Strategies for rhythmic precision, fingerings for trills, mordents. Weissenborn Opus 8/2, Study #21 for advanced bassoon students. Strategies for rhythmic precision, fingerings for trills, mordents. By Terry B. Ewell, Bassoon Digital Professor. BDP #129a 0
Weissenborn Study #21, Part A /en/lessons/bdp129a/#chapter-0-19-01 Welcome to Weissenborn Study #21. I am Terry Ewell. This is a very challenging study in many aspects. Rhythmically, the study is difficult for students to perform. Take, for instance, the first measure. This is best mastered with eighth-note subdivisions. You must subdivide the dotted quarter note in order to perform it accurately. 1
Weissenborn Study #21, Part A /en/lessons/bdp129a/#chapter-0-50-02 Notice how I arrange my marks for eighth notes. The longer marks indicate the beats and the shorter marks indicate the middle of the beats. I find that this helps me better keep track of the rhythm. 2
Weissenborn Study #21, Part A /en/lessons/bdp129a/#chapter-1-08-03 The turn in measure 3 of the first line is another place that needs to be subdivided. I will first tongue eighth notes and then play it as written. 3
Weissenborn Study #21, Part A /en/lessons/bdp129a/#chapter-1-43-04 Be sure to study the written-out thirty-second notes Weissenborn has supplied with measure 3. 4
Weissenborn Study #21, Part A /en/lessons/bdp129a/#chapter-1-50-05 Weissenborn does not provide written notation for the turns in line 2, the last measure. I play this as a sixteenth note, triplet thirty-second notes, and two sixteenth notes. 5
Weissenborn Study #21, Part A /en/lessons/bdp129a/#chapter-2-10-06 One of the other difficult measures for correct rhythmic performance is found in line 6, the first measure. The eighth-note subdivisions again help with accuracy. 6
Weissenborn Study #21, Part A /en/lessons/bdp129a/#chapter-2-43-07 Once the notes are mastered, however, there is still more practice to be done. Weissenborn marks the beginning cantabile and the recapitulation con espressione. Thus, the music needs to be sung and performed with expression. This is best done by feeling quarter-note beats and moving the music forward toward musical goals, then relaxing the music after those goals are reached. Please consider my discussion in Bassoon Digital Professor #100 about how motion is made in music. 7
Weissenborn Study #21, Part A /en/lessons/bdp129a/#chapter-3-23-08 I will be discussing more completely how to practice trills in Study #37. However, here in line 2, measure 1, consider how to create a long trill that is musically shaped by increasing in speed. Don't play it in a totally metronomic fashion like this. 8
Weissenborn Study #21, Part A /en/lessons/bdp129a/#chapter-3-51-09 Instead, practice shaping the trill in different ways. 9
Weissenborn Study #21, Part A /en/lessons/bdp129a/#chapter-4-15-10 Last of all, I use the alternate fingerings for G♭2 and A♭2 in line 6. In the music I mark alternate fingerings with an upside-down A. 10
Weissenborn Study #21, Part A /en/lessons/bdp129a/#chapter-4-33-11 Let's look at some of the fingerings for trills and mordents in this study. For the first trill in line 2, measure 1, we use the normal fingerings. Start C4 with the flick key and then trill between C and D. In line 2 we have the first occurrence of mordents in the Weissenborn studies. The fingerings for these mordents are also the standard fingerings. So, for E4 to F4 use your standard E-to-F fingering, and for C4 to D4 use your standard C-to-D fingerings. 11
Weissenborn Study #21, Part A /en/lessons/bdp129a/#chapter-5-24-12 However, let's discuss the mordent a little bit. In the Baroque period and the contemporary use of the German term mordent has a downward motion. You can observe this in the German editions of the Weissenborn Bassoon School. However, in the English language the term mordent means an upward motion. The Germans call this a short trill or a pralltriller. This can be confusing for English speakers because mordent in English is an upward motion whereas in the Baroque period and contemporary German usage it is downward. Mordents are played at differing speeds. You can see in the upper example there are triplet sixteenth notes and in the lower example there are even faster notes. 12
Weissenborn Study #21, Part A /en/lessons/bdp129a/#chapter-6-31-13 In line 3, measure 1, the trill here is from B♭3 to C4. This is a trill that needs to be made by moving the ring finger of the left hand. 13
Weissenborn Study #21, Part A /en/lessons/bdp129a/#chapter-6-52-14 In line 6, measure 3, we have a trill from C to D♭. You have two choices here. The one I favor is trilling the D key and the C♯ key. This, however, can be a little more awkward. The second choice is to use the C♯ trill key that is on the instrument. This is, of course, a very easy trill to execute. However, I find the interval, the distance between C4 and D♭4, to be a little too narrow. For that reason I choose the first alternative. 14
Practicing Weissenborn Study #21, Part B /en/lessons/bdp129b/ Practicing Weissenborn Study #21, Part B Weissenborn Opus 8/2, Study #21, Part B for advanced bassoon students. The toolbox and a summary of practice tools, followed by a performance of Study #21. Weissenborn Opus 8/2, Study #21 for advanced bassoon students. By Terry B. Ewell, Bassoon Digital Professor. BDP #129b 0
Practicing Weissenborn Study #21, Part B /en/lessons/bdp129b/#chapter-0-00-01 I suppose it is tempting, if the only tool you have is a hammer, to treat everything as if it were a nail.—Abraham Maslow Reference: Abraham H. Maslow (1966), The Psychology of Science, p. 15. As quoted from Law of the Instrument. --- 1
Practicing Weissenborn Study #21, Part B /en/lessons/bdp129b/#chapter-0-13-02 So far in the studies we have already considered many tools for practicing. In this reflection I present the notion of a toolbox full of methods for practicing the bassoon. --- 2
Practicing Weissenborn Study #21, Part B /en/lessons/bdp129b/#chapter-0-25-03 Abraham Maslow’s quotation about the hammer illuminates the absurdity of trying to fix every problem with a single tool. Likewise by now you should understand that the difficulties presented in the Weissenborn studies will not be fixed with a single approach to practicing. --- 3
Practicing Weissenborn Study #21, Part B /en/lessons/bdp129b/#chapter-0-46-04 You need to have a “tool box” filled with practice solutions for different problems. You also need to have the wisdom to know which tool can be used to fix the problem. Hopefully you are beginning to understand the application of some of the tools I have presented in the last 20 studies. More tools are yet to come! --- 4
Practicing Weissenborn Study #21, Part B /en/lessons/bdp129b/#chapter-1-12-05 Here for instance is an inventory of some the practice tools in my box with some references: --- 5
Practicing Weissenborn Study #21, Part B /en/lessons/bdp129b/#chapter-1-25-06 - A metronome for beat displacement, accuracy, tempo, and timing (Weissenborn #22, BDP #130) - Rhythms (Weissenborn #24, BDP #132) - Subdivisions (this study, BDP #129) - Drones (Weissenborn #1, BDP #109) --- 6
Practicing Weissenborn Study #21, Part B /en/lessons/bdp129b/#chapter-1-45-07 - Rubato drives (Music in Motion, BDP #100) - Vibrato drives (Music in Motion, BDP #100) - Trill practice (Weissenborn #37, BDP #145) - Endurance exercises (“Wind Performer’s Guide to Increasing Endurance”) --- 7
Practicing Weissenborn Study #21, Part B /en/lessons/bdp129b/#chapter-1-53-08 - A mirror (Weissenborn #2, BDP #110) - A recording device, which could be an app on your phone or computer --- 8
Practicing Weissenborn Study #21, Part B /en/lessons/bdp129b/#chapter-2-02-09 - Alternate fingerings such as those in the Bassoon Family Fingering Companion --- 9
Practicing Weissenborn Study #21, Part B /en/lessons/bdp129b/#chapter-2-14-10 - Segmentation (Weissenborn #11, BDP #119) - And sprints (Weissenborn #11, BDP #119) --- ## PERFORMANCE 10
Practicing Weissenborn Study #21, Part B /en/lessons/bdp129b/#chapter-2-21-11 Performance of Weissenborn Study #21. --- ## ADDITIONAL TRANSCRIPT TEXT The following concluding reflection text was supplied in the source transcript, but it does not occur as spoken text in the supplied English SBV timing file and therefore has no SBV-derived timestamp. It is critical that you use the right tool for the right problem and then devote the practice time needed for mastery. In addition, use all of these tools to develop your musical acuity, that is, the ability to understand and hear all aspects of music. Develop your musical ear and your musical imagination not just technical facility. The goal is to be a musician not a machine. --- 11
Weissenborn Study #22 /en/lessons/bdp130/ Weissenborn Study #22 Weissenborn Opus 8/2, Study #22 for advanced bassoon students. Beat displacement and the metronome. Guest performer Genesis Neely. Weissenborn Opus 8/2, Study #22 for advanced bassoon students. Beat displacement and the metronome. Guest Performer Genesis Neely. By Terry B. Ewell, Bassoon Digital Professor. BDP #130. 0
Weissenborn Study #22 /en/lessons/bdp130/#chapter-0-18-01 Welcome, this is Terry Ewell. 1
Weissenborn Study #22 /en/lessons/bdp130/#chapter-0-21-02 This is another study where breathing rapidly is necessary in order to avoid delaying entrances in the music. Again I encourage you to breathe by dropping the jaw and not raising the head. I have discussed this in prior videos in this series. 2
Weissenborn Study #22 /en/lessons/bdp130/#chapter-0-40-03 Focus on clean articulations for each note. You will need to flick articulated A3, Bb3, B3, and C4 notes. Please refer to Studies 3 and 4 on flicking if you need to review flicking technique. 3
Weissenborn Study #22 /en/lessons/bdp130/#chapter-1-00-04 Beat displacement is a great tool for practicing this study and the metronome is the best way to apply it. You probably haven’t thought about what a great tool the metronome can be for this study. 4
Weissenborn Study #22 /en/lessons/bdp130/#chapter-1-15-05 Let’s focus on the difficult passage in the second to last line. Several measures of the music are given in the top line. The first short segment coincides with the beat as written. In the second segment the beat is shifted one eighth note to the right. In the third segment the beat is shifted two eighth notes to the right. 5
Weissenborn Study #22 /en/lessons/bdp130/#chapter-1-44-06 Practice the short segments with the metronome: 6
Weissenborn Study #22 /en/lessons/bdp130/#chapter-2-14-07 Even though the finger combinations remain the same, it is amazing how different the passage feels with the beat shifted. This is a great workout for your brain! 7
Weissenborn Study #22 /en/lessons/bdp130/#chapter-2-28-08 After you have mastered short segments, work on longer segments. In this way you can successfully perform the whole study. --- # REFLECTION 8
Weissenborn Study #22 /en/lessons/bdp130/#chapter-2-38-09 How any musician could ever play with a metronome, passes my humble understanding. It is not only an inartistic, but a downright anti-artistic instrument. — Constantin von Sternberg, Ethics and aesthetics of piano playing Metronome quotation reference 9
Weissenborn Study #22 /en/lessons/bdp130/#chapter-2-57-10 You can visit this website and read of many evils attributed to the metronome. Perhaps inflation, world wars, and famine could be fixed by abolishing that evil machine! 10
Weissenborn Study #22 /en/lessons/bdp130/#chapter-3-12-11 Well, indeed, it is disagreeable to hear a performance that provides no metrical freedom, one that is rhythmically shackled. However, my experience working with students is that it is far more likely for rhythms and tempos to be terribly askew than too metrical. 11
Weissenborn Study #22 /en/lessons/bdp130/#chapter-3-37-12 The metronome is an instrument to be used to develop rhythmic precision. When that is mastered then you have a reference point from which to depart. It is a wonderful practice tool that builds the foundation for artistry. 12
Weissenborn Study #22 /en/lessons/bdp130/#chapter-3-56-13 I find the metronome indispensable for three reasons: 13
Weissenborn Study #22 /en/lessons/bdp130/#chapter-4-01-14 1. It is an aid for accurate tempos and rhythms. 14
Weissenborn Study #22 /en/lessons/bdp130/#chapter-4-08-15 2. It is a means of assessment. For instance, day by day you can chart your progress at performing a certain passage faster and faster. 15
Weissenborn Study #22 /en/lessons/bdp130/#chapter-4-23-16 3. It is a great tool to help with beat displacement. 16
Weissenborn Study #22 /en/lessons/bdp130/#chapter-4-28-17 Keep your metronome handy while you practice and reach for it often! 17
Weissenborn Study #23 /en/lessons/bdp131/ Weissenborn Study #23 Weissenborn Opus 8/2, Study #23 for advanced bassoon students. This contains information on volume, vibrato, and agogic accents. Weissenborn Opus 8/2, Study #23 for advanced bassoon students. This contains information on volume, vibrato, and agogic accents. By Terry B. Ewell, Bassoon Digital Professor. BDP #131. 0
Weissenborn Study #23 /en/lessons/bdp131/#chapter-0-18-01 Welcome, this is Terry Ewell. The grace notes at the beginning of Weissenborn study #23 are played before the beat. The slashes or slanted lines through the grace notes are an important indication of this. By the way, most grace notes in the Romantic period are placed before the beat. 1
Weissenborn Study #23 /en/lessons/bdp131/#chapter-0-40-02 I have spoken earlier about the rF—rinsforzando--in Study #12. Please listen to my comments on this. 2
Weissenborn Study #23 /en/lessons/bdp131/#chapter-0-55-03 The most difficult section of the study for many students is the middle section which is mark Delicato means delicate. Study carefully the written notes above the staff provided by Weissenborn. These grace notes do not have slashes, but appear as smaller sixteenth notes. Thus, these are performed on the beat with the same rhythm and placement as written sixteenth notes. Notice that this middle section also has grace notes with slashes. The two types of grace notes will need to be played differently. 3
Weissenborn Study #23 /en/lessons/bdp131/#chapter-1-42-04 This is the first da capo study in the set of fifty studies. When you repeat the first section again, do not play the repeats on the second time through. 4
Weissenborn Study #23 /en/lessons/bdp131/#chapter-1-54-05 The word fine means “end” in Italian. This is where the etude concludes. --- # REFLECTION 5
Weissenborn Study #23 /en/lessons/bdp131/#chapter-1-59-06 Consider accents—There is not just one type! 6
Weissenborn Study #23 /en/lessons/bdp131/#chapter-2-06-07 I have found an excellent summary on accents contained in Wikipedia. I encourage you to take a look at this: https://en.wikipedia.org/wiki/Accent_(music) 7
Weissenborn Study #23 /en/lessons/bdp131/#chapter-2-19-08 Musical artists must understand how to accent. One type of accent can be made with volume. These are called dynamic accents. There are different types of dynamic accents that vary in amplitude, speed, and placement. 8
Weissenborn Study #23 /en/lessons/bdp131/#chapter-2-35-09 For instance, studies 22 and 24 require faster accents presented on the beat. There should be no delay or this will interfere with the rhythm and tempo of the studies. 9
Weissenborn Study #23 /en/lessons/bdp131/#chapter-2-48-10 Here are some accents in Study 22: 10
Weissenborn Study #23 /en/lessons/bdp131/#chapter-2-48-11 Here are some accents in Study 24: 11
Weissenborn Study #23 /en/lessons/bdp131/#chapter-3-13-12 Other accents can be more gentle and with a slight delay. This is more appropriate in slower compositions such as Weissenborn 23. For instance, the accents in the first two measures can be performed like this: 12
Weissenborn Study #23 /en/lessons/bdp131/#chapter-3-43-13 Furthermore I can emphasize notes and thus accent them with increased vibrato. Perhaps we should call this a vibrato accent. 13
Weissenborn Study #23 /en/lessons/bdp131/#chapter-4-00-14 In Weissenborn 23 we get a chance to practice another kind of accent. An agogic accent is one of timing, placement, or duration. Instruments such as the harpsichord are unable to give different dynamics. Players of these instruments make use of agogic accents instead. 14
Weissenborn Study #23 /en/lessons/bdp131/#chapter-4-24-15 Let’s go to my grandmother’s harpsichord for a demonstration. The harpsichord is an instrument in which you can’t make notes sound louder by pushing down the keys harder. The notes have the same volume no matter how you depress the keys. For this reason, harpsichord performers have developed very sophisticated applications of the agogic accent to bring out dynamics in music. 15
Weissenborn Study #23 /en/lessons/bdp131/#chapter-4-56-16 Here is a passage with no accents. Example G A B C D C B A G 16
Weissenborn Study #23 /en/lessons/bdp131/#chapter-5-05-17 Now here is an agogic accent of length on D (re). Example G A B C D C B A G 17
Weissenborn Study #23 /en/lessons/bdp131/#chapter-5-21-18 I didn’t vary the timing of the note only the length. The longer note makes the D sound louder and thus accented. 18
Weissenborn Study #23 /en/lessons/bdp131/#chapter-5-30-19 Here is an agogic accent of timing. Example G A B C D C B A G 19
Weissenborn Study #23 /en/lessons/bdp131/#chapter-5-40-20 The delay on the D gives the note emphasis. 20
Weissenborn Study #23 /en/lessons/bdp131/#chapter-5-51-21 The agogic accent with delay can be employed quite effectively on the Bb4 in the second page, second line. This is especially useful the very last time that B flat is played. Typically you want to play most expressively the last time. 21
Weissenborn Study #24 /en/lessons/bdp132/ Weissenborn Study #24 Weissenborn Opus 8/2, Study #24 for advanced bassoon Weissenborn Opus 8/2, Study #24 for advanced bassoon students. Multiple practice methods for rapid passages are discussed. By Terry B. Ewell, Bassoon Digital Professor. BDP #132. 0
Weissenborn Study #24 /en/lessons/bdp132/#chapter-0-18-01 Welcome, this is Terry Ewell. Weissenborn study #24 is a real finger twister and a brain strainer! It features descending and ascending thirds in E flat major. 1
Weissenborn Study #24 /en/lessons/bdp132/#chapter-0-35-02 Let's consider line 6, the three measures before the fermata. My rule is that you need at least two ways to practice a difficult passage. But in this case I expect you to come up with at least six practice methods! I want you to stop the video now and write down all of the ways you can think of practicing these three measures. 2
Weissenborn Study #24 /en/lessons/bdp132/#chapter-0-57-03 OK, let's compare notes. If you have been watching all of the prior videos, you should have at least six ways to practice this passage. Here are some of the ways I developed to practice these three measures: 3
Weissenborn Study #24 /en/lessons/bdp132/#chapter-1-22-04 Rhythms that coincide with the meter 4
Weissenborn Study #24 /en/lessons/bdp132/#chapter-1-22-05 Rhythms that don't coincide with the meter 5
Weissenborn Study #24 /en/lessons/bdp132/#chapter-2-12-06 Beat displacement 6
Weissenborn Study #24 /en/lessons/bdp132/#chapter-2-12-07 Beat displacement with rhythms. Of course you can do all of the prior rhythms given earlier with beat displacement. Here is one example. 7
Weissenborn Study #24 /en/lessons/bdp132/#chapter-2-40-08 Repeated notes 8
Weissenborn Study #24 /en/lessons/bdp132/#chapter-2-40-09 Sprints. Remember to practice small sections first. I mentioned in the earlier studies that it is best to start from the last measure first and then add the measures before it. For instance, practice the measure before the fermata first, then two measures before, and the three measures before. 9
Weissenborn Study #24 /en/lessons/bdp132/#chapter-3-12-10 Also use this additive method for your work with rhythms. 10
Weissenborn Study #24 /en/lessons/bdp132/#chapter-4-10-11 I mentioned in Study 11 that it is helpful to think of the scale and allow the fingers to follow. This also helps with this difficult passage: 11
Weissenborn Study #24 /en/lessons/bdp132/#chapter-4-34-12 Sometimes the solution to a fingering problem lies with the way you think about the passage. In the second to last measure I continued to have difficulties until I fixed my attention on the problem note. For me the G2 is the key note. I greatly improved my accuracy by concentrating on that note. You might find similar issues with other difficult passages. The solution could be focusing on a certain finger motion in a key area or giving attention to a single note in a passage. 12
Weissenborn Study #24 /en/lessons/bdp132/#chapter-5-07-13 Practice for success! Always end your practice sessions with successful performances. When you practice you will increase the difficulty (here the speed of the passage) until failure or mistakes occurs. Then reduce the speed until you are successful. Ending with successful repetitions will give you a positive attitude about the difficult passage. 13
Weissenborn Study #24 /en/lessons/bdp132/#chapter-5-36-14 I use the alternate Eb fingering except for when the Eb3 starts a phrase: 14
Weissenborn Study #24 /en/lessons/bdp132/#chapter-5-43-15 Be sure to use the little finger key on every G3 to keep these notes in tune. 15
Weissenborn Study #24 /en/lessons/bdp132/#chapter-5-53-16 Last of all, fermatas in the studies imply a rallentando prior to the fermata. I have included this in the music accompanying the edited performance. ------------------------------------------------------------------------ # REFLECTION 16
Weissenborn Study #24 /en/lessons/bdp132/#chapter-6-08-17 In weight training, you can't just keep doing the same thing. Somewhere along the line, you have to train with more intensity. Either you need to lift more weight, to go through your routine at a faster pace, to add more exercises to your program--or all of the above.... 17
Weissenborn Study #24 /en/lessons/bdp132/#chapter-6-31-18 I challenge you to consider how to improve all aspects of your life. Be your best! When you practice bassoon, don't keep doing the same things over and over again. Consider if there are superior and more efficient ways to practice and improve your bassoon technique. 18
Weissenborn Study #24 /en/lessons/bdp132/#chapter-6-55-19 In study 24 there are two problems: one of rapid fingerings and one of oxygen regulation and concentration. You need to adopt efficient ways to move your fingers. I have prepared a video on fingering technique (BDP#23) that will be helpful for you. In particular advanced players need to pay attention to the end of that video (5:20 and onward). BDP #23 Fingering Technique on YouTube BDP #23 19
Weissenborn Study #24 /en/lessons/bdp132/#chapter-7-28-20 The second issue of breath control, oxygen regulation, and better concentration will be mastered in several ways. Learn to relax your whole body when you play. Use only efficient motions because this will increase your lung capacity and provide a more efficient use of oxygen. Efficient breathing and exhalation will also improve your playing. My monograph "Wind Performer's Guide to Increasing Endurance" provides information on efficient breathing and several exercises to increase performance endurance. It is available on lulu.com. Wind Performer's Guide to Increasing Endurance 20
Weissenborn Study #25 /en/lessons/bdp133/ Weissenborn Study #25 Weissenborn Opus 8/2, Study #25 for advanced bassoon students. Strategies for octave jumps in this study and the Hummel Bassoon Concerto. Healthy attitudes about competition and comparisons. Weissenborn Opus 8/2, Study #25 for advanced bassoon students. Strategies for octave jumps in this study and the Hummel Bassoon Concerto. Healthy attitudes about competition and comparisons. By Terry B. Ewell, Bassoon Digital Professor. BDP #133. 0
Weissenborn Study #25 /en/lessons/bdp133/#chapter-0-19-01 Welcome, this is Terry Ewell. Weissenborn study #25 is one of the most difficult in the collection. The octave jumps present challenges for fingering and intonation. In addition, the study provides little place to breathe. Let's discuss each of those issues one by one. 1
Weissenborn Study #25 /en/lessons/bdp133/#chapter-0-43-02 The fingering solutions for lines 3 and 4 are similar to the solutions I provided for Hummel's bassoon concerto in my article titled "Bassoon Lessons with Arnold Schwarzenegger, or What I did on My Summer Vacation." Bassoon Lessons with Arnold Schwarzenegger, or What I did on My Summer Vacation 2
Weissenborn Study #25 /en/lessons/bdp133/#chapter-1-07-03 The mp3 files of my live performance of the Hummel bassoon concerto are given here: Recorded Bassoon Performances 3
Weissenborn Study #25 /en/lessons/bdp133/#chapter-1-15-04 Here are my solutions: First I engage the whisper (or piano) key lock. Most whisper key locks are engaged with the right hand at the top of the boot joint. 4
Weissenborn Study #25 /en/lessons/bdp133/#chapter-1-31-05 My whisper key lock is engaged with the left thumb here. 5
Weissenborn Study #25 /en/lessons/bdp133/#chapter-1-44-06 Then I use the D key to produce the upward slurs for A4, Bb4, B4, C4, and D4. The D key has the added advantage of raising the pitch of C4, which is a flat note on my bassoon. 6
Weissenborn Study #25 /en/lessons/bdp133/#chapter-2-04-07 The difficult C#3-C#4 slurs are made easier by using these fingerings: 7
Weissenborn Study #25 /en/lessons/bdp133/#chapter-2-13-08 I use those fingerings on the 16th notes only in the difficult passage. On the 8th notes and 16ths in the second to last measure I use the normal C# fingerings. 8
Weissenborn Study #25 /en/lessons/bdp133/#chapter-2-27-09 The alternate Ab3 in the last line gives a smoother slur to Ab4. 9
Weissenborn Study #25 /en/lessons/bdp133/#chapter-2-35-10 In general the intonation of the upper octave notes are helped by switching vowels. The lower notes are played with an "ah" or "oh" vowel or position of the tongue. The upper notes are performed with an "ee" vowel or position of the tongue. Thus, in addition to embouchure adjustments, the tongue is also changing position to improve the intonation of the octaves. 10
Weissenborn Study #25 /en/lessons/bdp133/#chapter-3-09-11 I have marked breaths in lines 3 and 4, but these do interrupt the timing of the 16ths. The passage can be performed with one breathe, however, this is extremely difficult as I demonstrate here: 11
Weissenborn Study #25 /en/lessons/bdp133/#chapter-3-49-12 One other solution is to use circular breathing on the slurred arpeggio in line 3 measure 2. If you wish to learn more about this technique, I have prepared a series of videos on circular breathing: BDP #7, 8, 9 (English); and BDP #76 (English and Chinese) Circular Breathing ------------------------------------------------------------------------ # REFLECTION 12
Weissenborn Study #25 /en/lessons/bdp133/#chapter-4-08-13 For if anyone thinks himself to be something, when he is nothing, he deceives himself. But let each one examine his own work, and then he will have rejoicing in himself alone, and not in another. For each one shall bear his own load. (NKJV, Galatians 6:3-5) 13
Weissenborn Study #25 /en/lessons/bdp133/#chapter-4-30-14 Every good gift and every perfect gift is from above, and comes down from the Father of lights.., (NKJV, James 1:17) 14
Weissenborn Study #25 /en/lessons/bdp133/#chapter-4-43-15 Living with comparisons and competition is a part of a musician's life. A wrongful attitude will lead you to one of two viewpoints: a boastful, inflated view of your value or a despondent lack of self-worth. 15
Weissenborn Study #25 /en/lessons/bdp133/#chapter-5-00-16 The writings here point to a different way to live. 16
Weissenborn Study #25 /en/lessons/bdp133/#chapter-5-04-17 When considering your gifts and talents remember that you were given them by your heavenly Father. Compare your potential to the best you are capable of producing. Measure your achievements not against others, but against what you can do to please the Giver of your gifts. Use your gifts as a means of blessing, not as a tool for boasting. Also remember your self-worth is not the sum of your achievements but rather the value that the Father of lights gives to you. 17
Weissenborn Study #26 /en/lessons/bdp134/ Weissenborn Study #26 Weissenborn Opus 8/2, Study #26 for advanced bassoon students. Three ways to improve downward slurs. Weissenborn Opus 8/2, Study #26 for advanced bassoon students. Three ways to improve downward slurs. By Terry B. Ewell, Bassoon Digital Professor. BDP #134. 0
Weissenborn Study #26 /en/lessons/bdp134/#chapter-0-18-01 Welcome, this is Terry Ewell. After the difficulties presented in some of the prior studies, it is nice to practice a study that is less challenging. 1
Weissenborn Study #26 /en/lessons/bdp134/#chapter-0-30-02 The downward G3-G2 slurs in line 3 are particularly difficult, however. Three things can help produce this slur. Lift the first finger and place it down forcefully to aid with the slur. 2
Weissenborn Study #26 /en/lessons/bdp134/#chapter-0-54-03 Position the teeth so that they are parallel not offset. Not here, but here. This may require you to move your lower jaw forward. Then play the lower G2 by moving the jaw downward and perhaps slightly forward. 3
Weissenborn Study #26 /en/lessons/bdp134/#chapter-1-15-04 By the way, keeping the teeth parallel helps wide interval leaps on the instrument over all registers. 4
Weissenborn Study #26 /en/lessons/bdp134/#chapter-1-22-05 Last of all quickly, and at the same time alter the vowel in your mouth, formed with your tongue to an "oh" or "ah" on the low G. 5
Weissenborn Study #26 /en/lessons/bdp134/#chapter-1-37-06 In the Maggiore, middle section, I seek a lyrical, warm, and singing tone. For this reason I choose to use the full C# fingering on all of the C#4 notes. 6
Weissenborn Study #26 /en/lessons/bdp134/#chapter-1-37-07 ------------------------------------------------------------------------ # REFLECTION 7
Weissenborn Study #26 /en/lessons/bdp134/#chapter-1-56-08 "Widespread ignorance bordering on idiocy is our new national goal." Accessed 28 March 2014: http://www.nybooks.com/blogs/nyrblog/2012/mar/20/age-of-ignorance/ 8
Weissenborn Study #26 /en/lessons/bdp134/#chapter-2-02-09 By now you must understand the important place the Fifty Advanced Studies have among etudes for the bassoon. They are the most widely used collection of bassoon studies in the world. 9
Weissenborn Study #26 /en/lessons/bdp134/#chapter-2-20-10 How would you judge an advanced bassoonist who had never played these fifty studies or even worse was not even familiar with them? I know that I would wonder about the training of this student, his or her education, and perhaps performance abilities. A similar comparison, however, can be made to another famous work. 10
Weissenborn Study #26 /en/lessons/bdp134/#chapter-2-42-11 Charles Simic, a college professor, is decrying the low level of history and political education among Americans in the quotation. With that statement I must agree, although I differ with some of his other conclusions. 11
Weissenborn Study #26 /en/lessons/bdp134/#chapter-3-07-12 Most interesting, however, is that I find the greatest ignorance among people is with the most influential book in all of human history. There is one book that tops the sales of all other books every year. There is one book that for many centuries has influenced history, art, and literature more than any other book. There is one book that millions turn to in times of celebration, moments of pain, and for spiritual development. Yet this book is rarely, if at all, read by the majority of Americans or those in other countries. 12
Weissenborn Study #26 /en/lessons/bdp134/#chapter-3-50-13 A bassoonist who is unfamiliar with the Weissenborn 50 Studies has missed out on an important educational resource. Likewise a person who has not read and studied the Bible---the most influential book ever written---has a huge hole in their education. I encourage you to add to your education. Carefully study the Bible. 13
Weissenborn Study #27 /en/lessons/bdp135/ Weissenborn Study #27 Weissenborn Opus 8/2, Study #27 for advanced bassoon students. Comments on perpetuum mobile and perfection vs. excellence; further examples of practicing with sprints. Weissenborn Opus 8/2, Study #27 for advanced bassoon students. Comments on perpetuum mobile and perfection vs. excellence; further examples of practicing with sprints. By Terry B. Ewell, Bassoon Digital Professor. BDP #135. 0
Weissenborn Study #27 /en/lessons/bdp135/#chapter-0-19-01 Welcome, this is Terry Ewell. As we progress through the Weissenborn advanced studies you will see that more and more of these exercises are devoted to perpetuum mobile, that is, a continuous stream of notes. 1
Weissenborn Study #27 /en/lessons/bdp135/#chapter-0-37-02 Rapid notes such as these are best practiced with sprints and certainly not with short halting rhythms. For instance, the dotted eight and sixteenth note rhythms are largely an ineffective practice method to use here for attaining faster speeds. 2
Weissenborn Study #27 /en/lessons/bdp135/#chapter-0-54-03 Let's concentrate on the tricky passage in lines 1-2, measures 5-6 of the study. 3
Weissenborn Study #27 /en/lessons/bdp135/#chapter-1-04-04 Sprints starting with the last beat and then adding beats will work well. 4
Weissenborn Study #27 /en/lessons/bdp135/#chapter-1-40-05 In line 4 made certain that the rhythms stay accurate. Too often students rush the 16ths as performed this way: 5
Weissenborn Study #27 /en/lessons/bdp135/#chapter-1-55-06 Instead perform it accurately this way: 6
Weissenborn Study #27 /en/lessons/bdp135/#chapter-2-04-07 The double breaths indicate places where you should exhale and then inhale. This is done at the beginning of the piece. Later this is done before playing the last three lines. ------------------------------------------------------------------------ # REFLECTION 7
Weissenborn Study #27 /en/lessons/bdp135/#chapter-2-23-08 When I was a young piano student my teacher often told me that the goal in music was perfection. I believed him and sought to do that for many years. 8
Weissenborn Study #27 /en/lessons/bdp135/#chapter-2-36-09 Later, however, I realized the error with that pursuit. Perfection is something that I could never attain. It was a destructive and frustrating goal. This goal was damaging my progress in music and my well-being. I learned little by little that it is not perfection that I should be striving for, but rather excellence. There is a big difference between seeking perfection and seeking excellence. 9
Weissenborn Study #27 /en/lessons/bdp135/#chapter-3-09-10 If I tried to make a perfect video, I would have never completed a single video in this series on the Weissenborn studies. You would have no instruction from me at all! When I look from the vantage point of perfection, every video I have made in this series has flaws, faults, and problems. 10
Weissenborn Study #27 /en/lessons/bdp135/#chapter-3-31-11 However, when I look from the vantage point of excellence I realize there are many things that are useful and commendable in the videos. I have chosen to set aside my negative criticisms and bring you the best that I am able to do. 11
Weissenborn Study #27 /en/lessons/bdp135/#chapter-3-49-12 I can't bring perfection to you, that is something only God can do. I can, however, bring you hours of labor and the best of my work. That is excellence. 12
Weissenborn Study #27 /en/lessons/bdp135/#chapter-4-03-13 I encourage you to lay aside the pursuit for perfection and instead seek excellence. Provide your best and be pleased with the excellence of your work. 13
Weissenborn Study #28 /en/lessons/bdp136/ Weissenborn Study #28 Weissenborn Opus 8/2, Study #28 for advanced bassoon students. Guest performer Austin Davis. Practicing with rhythms in 6/8 time. More practice with drones. The five components for sound production. First discussion on tuning. Weissenborn Opus 8/2, Study #28 for advanced bassoon students. Guest performer Austin Davis. Practicing with rhythms in 6/8 time. More practice with drones. The five components for sound production. First discussion on tuning. By Terry B. Ewell, Bassoon Digital Professor. BDP #136. 0
Weissenborn Study #28 /en/lessons/bdp136/#chapter-0-18-01 Welcome, this is Terry Ewell. Weissenborn study #28 provides us the opportunity to develop our tools for practicing in 6/8. Pull out your "toolbox" of rhythms and get to work! I want you to come up with at least six practice rhythms for the first two measures. Some should coincide with the beat and others won't. Stop the video now. 1
Weissenborn Study #28 /en/lessons/bdp136/#chapter-0-53-02 How did you do? We are now over half way through the Weissenborn studies and I expect that your understanding of how to use rhythms to practice is now well developed. Let's compare notes. Here some of the possibilities. 2
Weissenborn Study #28 /en/lessons/bdp136/#chapter-1-06-03 Rhythms that coincide with the beat and meter: 3
Weissenborn Study #28 /en/lessons/bdp136/#chapter-1-34-04 Rhythms that coincide with the beat but change the meter: 4
Weissenborn Study #28 /en/lessons/bdp136/#chapter-1-43-05 Rhythms that depart from the beat and meter: 5
Weissenborn Study #28 /en/lessons/bdp136/#chapter-2-17-06 Naturally there are more rhythms as well. Be creative! Be sure to practice all of the difficult portions of this study with many rhythmic patterns. 6
Weissenborn Study #28 /en/lessons/bdp136/#chapter-2-32-07 Students struggle with keeping an even tempo and correct rhythms in line 2. The key to a steady rhythm is subdivisions. Hear in your mind eighth notes when you perform this passage. 7
Weissenborn Study #28 /en/lessons/bdp136/#chapter-2-56-08 (singing) etc. So if you hear those eighth notes that will help you with this passage. 8
Weissenborn Study #28 /en/lessons/bdp136/#chapter-3-06-09 Let's also concentrate on good intonation. Set your drone to D and practice through the first four lines up to the fine. 9
Weissenborn Study #28 /en/lessons/bdp136/#chapter-3-13-10 Let me do a little practice for you to observe: 10
Weissenborn Study #28 /en/lessons/bdp136/#chapter-4-25-11 The intervals are difficult to tune. So my questions to you are, "How do we tune notes on the bassoon?" "Have you carefully thought about this or examined the issue of tuning?" The next three reflections will be devoted to answering this question more fully. ------------------------------------------------------------------------ # REFLECTION 11
Weissenborn Study #28 /en/lessons/bdp136/#chapter-4-47-12 In this and the next reflection I am briefly sharing material from my monograph "Wind Performer's Guide to Increasing Endurance." Some of the principals introduced there will help you to better understand how to adjust intonation on the bassoon. http://www.lulu.com/shop/terry-b-ewell/wind-performers-guide-to-increasing-endurance/ebook/product-20941958.html 12
Weissenborn Study #28 /en/lessons/bdp136/#chapter-5-04-13 Here are the five components used for the production of sound: 1. the lungs 2. the throat area 3. the back of the tongue 4. the front of the tongue, and 5. the embouchure (lips and jaw) 13
Weissenborn Study #28 /en/lessons/bdp136/#chapter-5-33-14 My system for playing the bassoon treats each component independently. In other words, each component has a unique role. 14
Weissenborn Study #28 /en/lessons/bdp136/#chapter-5-41-15 An analogy that helps explain the roles is a faucet with a hose and trigger sprayer or nozzle. Please observe the numbers and how they correlate to the five components in the previous figure. 15
Weissenborn Study #28 /en/lessons/bdp136/#chapter-5-57-16 In number 1 the faucet provides the flow of water. Numbers 2 and 3 direct and modify that flow of water. In number 4 the trigger on the sprayer can quickly start or stop the water. And last of all in number 5 the nozzle can direct the stream of water into a loose or tight spray. 16
Weissenborn Study #28 /en/lessons/bdp136/#chapter-6-22-17 Each of these components influences intonation. However, for our purposes here we will pay attention to the intonation adjustments made by the back of the tongue and the embouchure. These are components 3 and 5. We will discuss this more in the next reflection. 17
Weissenborn Study #29 /en/lessons/bdp137/ Weissenborn Study #29 Weissenborn Opus 8/2, Study #29 for advanced bassoon students. Playing on the wind, changing the mood in music, and the second discussion on tuning. Weissenborn Opus 8/2, Study #29 for advanced bassoon students. Playing "on the wind," changing the mood in music, and the second discussion on tuning. By Terry B. Ewell, Bassoon Digital Professor. BDP #137. 0
Weissenborn Study #29 /en/lessons/bdp137/#chapter-0-19-01 Welcome, this is Terry Ewell. Today you have the opportunity to "play with fire." Allegro con fuoco literally means "fast with fire." The sizzle of the flames should come from the speed of your performance and the clarity of your rapid tonguing. 1
Weissenborn Study #29 /en/lessons/bdp137/#chapter-0-42-02 None of the Fifty Advanced Studies require very rapid tonguing. For this reason I do not recommend that my students use multiple tonguing techniques such as double tonguing. Instead they should master a fast single tongue at speeds up four sixteenth notes in a beat at metronome marking 132. If, however, you wish to learn more about multiple tonguing techniques I have some videos for you! See Bassoon Digital Professor (BDP) 18-20, http://www.2reed.net/bdp/#Double_Tonguing 2
Weissenborn Study #29 /en/lessons/bdp137/#chapter-1-22-03 and also view my discussion of Beethoven's 4th Symphony in BDP 78-79. http://www.2reed.net/bdp/#Orchestral 3
Weissenborn Study #29 /en/lessons/bdp137/#chapter-1-31-04 Don't allow your tonguing to interfere with your phrasing. Play the notes "on the wind." For example, in measure 1 drive or push the notes to the downbeat of measure 2. You can test your phrasing in two ways. 4
Weissenborn Study #29 /en/lessons/bdp137/#chapter-1-44-05 play the passage first slurred. 5
Weissenborn Study #29 /en/lessons/bdp137/#chapter-2-02-06 And then play the passage on a single note. 6
Weissenborn Study #29 /en/lessons/bdp137/#chapter-2-12-07 Now play the notes as written with the same phrasing. 7
Weissenborn Study #29 /en/lessons/bdp137/#chapter-2-24-08 For further information on "Playing on the wind" see BDP 56. http://www.2reed.net/bdp/#Phrasing 8
Weissenborn Study #29 /en/lessons/bdp137/#chapter-2-33-09 The two quick breaths in line 3 allow for the rest of the phrase to be completed. 9
Weissenborn Study #29 /en/lessons/bdp137/#chapter-2-39-10 There is a dramatic mood change in line 4 after the fermata. What are the ways in which you can achieve this? Let me play for you the first four notes in the opening and then the first two notes in this new section. 10
Weissenborn Study #29 /en/lessons/bdp137/#chapter-3-07-11 In addition to the dynamic differences what were the other things I did to signal to the listener the change in mood? Listen to it again. Example 11
Weissenborn Study #29 /en/lessons/bdp137/#chapter-3-27-12 Here are some of the things I was doing: Different breaths, quicker in the beginning, slower in the 2nd section. Different articulation. I used a faster release of the tongue in the beginning. Different sound color. I sought a darker sound in the middle section. Different gestures as I start playing. 12
Weissenborn Study #29 /en/lessons/bdp137/#chapter-3-55-13 Just take a single note and practice playing it in different styles. How many different expressions can you give to it? Developing multiple expressions will be important as you progress through the Weissenborn studies. We will discuss this more in a later study or two. ------------------------------------------------------------------------ # REFLECTION 13
Weissenborn Study #29 /en/lessons/bdp137/#chapter-4-18-14 This is the second part of our discussion on tuning notes on the bassoon. I am providing some material from Chapter one of my monograph "Wind Performer's Guide to Increasing Endurance." 14
Weissenborn Study #29 /en/lessons/bdp137/#chapter-4-31-15 Have you ever heard a bagpipe start up or end? This illustrates the tendencies of a double reed. With more air (the bagpipe starting) the pitch rises. With less air (the bagpipe stopping) the pitch lowers. Here are two examples. 15
Weissenborn Study #29 /en/lessons/bdp137/#chapter-5-11-16 That was really something. I think I achieved some of those sounds when I first started playing the bassoon! 16
Weissenborn Study #29 /en/lessons/bdp137/#chapter-5-23-17 The pitch on all double reed instruments works in much the same way. In general, with double reed instruments the more you blow the sharper the pitch becomes. So, component 1 is not suitable for adjusting intonation because we use the lungs to adjust dynamics. You should verify for yourself how component 1 varies the pitch. If you have not viewed or understood the rudiments I present in the beginning bassoon lessons, you need to do so. 17
Weissenborn Study #29 /en/lessons/bdp137/#chapter-5-50-18 I suggest you look at the "articulation experiments" I present in the "Third Bassoon Lesson, part 1," BDP 33. https://www.youtube.com/watch?v=Zv20zy2O8Mo http://www.2reed.net/bdp/#starting_bassoon 18
Weissenborn Study #29 /en/lessons/bdp137/#chapter-6-05-19 These are advanced studies, so I assume that you know the rudiments I introduced in the first ten lessons. Learn them now if you don't know them already! You can also study these further in my article "Teaching the Beginning Bassoonist." 19
Weissenborn Study #29 /en/lessons/bdp137/#chapter-6-18-20 Components 2 (throat) and 4 (front of the tongue) are also not appropriate for pitch adjustments. The throat area I reserve for vibrato and the front of the tongue I use for articulation. 20
Weissenborn Study #29 /en/lessons/bdp137/#chapter-6-44-21 The two components I primarily use to adjust intonation are numbers 3 and 5, the back of the tongue with vowels and the embouchure (lips and jaw). My first choice is to adjust the tongue position, but if needed I also adjust the embouchure. 21
Weissenborn Study #29 /en/lessons/bdp137/#chapter-6-56-22 The tongue is remarkably quick and facile. Our skills with language provide ample evidence of this. Tuning is often best accomplished with vowel changes, or "voicings" in the mouth. These vowel changes are made with component 3, the back of the tongue. 22
Weissenborn Study #29 /en/lessons/bdp137/#chapter-7-22-23 These are my adjustments for intonation. First adjust the vowel. If the note is flat use an "ee" vowel. The "ee" or "i" vowels which are found in English words such as "seek" and "peak," or "pitch" and "itch" provide higher intonation on the instrument. 23
Weissenborn Study #29 /en/lessons/bdp137/#chapter-7-38-24 If the note is sharp use the "ah" vowel. The "ah" or "oh" vowels, which are found in Englishwords such as in "ha" and "Tom," or "oh" and "boat," provide lower intonation on the instrument. 24
Weissenborn Study #29 /en/lessons/bdp137/#chapter-7-58-25 Please understand that my vowel representations are approximate. You will need to experiment with your tongue placement when you practice. 25
Weissenborn Study #29 /en/lessons/bdp137/#chapter-8-12-26 Let me illustrate the use of vowels on Bb3, one of the most unstable notes on the instrument. I will change the vowels in my mouth without altering my embouchure. 26
Weissenborn Study #29 /en/lessons/bdp137/#chapter-8-41-27 As you can hear, the vowels can significantly alter the pitch. 27
Weissenborn Study #30 /en/lessons/bdp138/ Weissenborn Study #30 Weissenborn Opus 8/2, Study #30 for advanced bassoon students. Discussion of the separation of tone production components for articulation lengths 1-5. The third discussion on tuning (bassoon registers). Weissenborn Opus 8/2, Study #30 for advanced bassoon students. Discussion of the separation of tone production components for articulation lengths 1-5. The third discussion on tuning (bassoon registers). By Terry B. Ewell, Bassoon Digital Professor. BDP #138. 0
Weissenborn Study #30 /en/lessons/bdp138/#chapter-0-16-01 Welcome, this is Terry Ewell. I think if Weissenborn had ever heard a tango, he would have written something like this: Example Tango 1
Weissenborn Study #30 /en/lessons/bdp138/#chapter-0-26-02 I can't help but hear a Tango when I play certain portions of this study! Sorry, I now think you will be imagining the same thing too. 2
Weissenborn Study #30 /en/lessons/bdp138/#chapter-0-52-03 There is a tendency to rush during the staccato eighth notes in line 3. Unfortunately I amply demonstrated this rushing in my recording of the study! Example (picture only) 3
Weissenborn Study #30 /en/lessons/bdp138/#chapter-1-06-04 Another rhythmic problem in the study is found with the three slurred notes. The tendency is to rush those as well. Don't play them like this: 4
Weissenborn Study #30 /en/lessons/bdp138/#chapter-1-06-05 (Example line 4 rushed.) 5
Weissenborn Study #30 /en/lessons/bdp138/#chapter-1-26-06 Instead keep an accurate rhythm. (Example line 4 accurate.) In line 4 you can play Eb4 with just the G key. You might find this easier, and certainly it makes for a better D4-Eb4 trill. 6
Weissenborn Study #30 /en/lessons/bdp138/#chapter-1-52-07 Now let's work some more on our control of the air and tongue. Let's first slur all the notes in the descending 3rds in line 3. Pay close attention to the way in which you phrase the notes. Create a full phrase with these notes. Shape the notes with your air, "the wind." Example slurred 7
Weissenborn Study #30 /en/lessons/bdp138/#chapter-2-22-08 Now without changing the beautiful shape you made with the air let's make different lengths of articulation. In Weissenborn study #7 I introduced a scaling of articulations from 1 to 5. 8
Weissenborn Study #30 /en/lessons/bdp138/#chapter-2-41-09 We will practice with those same articulations here. Here is length number 5. Example 9
Weissenborn Study #30 /en/lessons/bdp138/#chapter-2-51-10 Notice that component 1 (breath) and component 5 (embouchure) work just as they did when I slurred the example. The length of notes is determined by the amount of time the tongue (component 4) is on the reed, not by a change in the other components. For length number 5 the tongue touches the reed as little as possible. 10
Weissenborn Study #30 /en/lessons/bdp138/#chapter-3-25-11 Here is length number 4. Example 11
Weissenborn Study #30 /en/lessons/bdp138/#chapter-3-40-12 Here is length number 3. Example Here is length number 2. Example And here are the shortest notes, length number 1. Example 12
Weissenborn Study #30 /en/lessons/bdp138/#chapter-4-00-13 I realize that it may be difficult for you to hear the differences, so let's take a look at the sound waves. Here I am using a software program called Reaper. 13
Weissenborn Study #30 /en/lessons/bdp138/#chapter-4-20-14 Let's see how well I did differentiating the note lengths. You can see a difference between lengths 5 and 4. The difference between 3 and 4 is more difficult to see partly because I didn't play the two at the same speed. It looks like the later notes are indeed shorter in 3 than in 4. The differences in note lengths between 2 and 3 and 1 and 2 are distinct. 14
Weissenborn Study #30 /en/lessons/bdp138/#chapter-4-49-15 Only by separating the five components from one another and allowing them to operate independently can I achieve this variety of articulation. If my embouchure or the jaw tries to articulate, it will only impede the variety I can achieve with the tongue at a variety of tempos. 15
Weissenborn Study #30 /en/lessons/bdp138/#chapter-5-13-16 Practice with all five articulations and see if you can gain further mastery. In the actual study I would choose to play the short notes at a number 2 or 3 in length. 16
Weissenborn Study #30 /en/lessons/bdp138/#chapter-5-28-17 I realize in my performance of the study I do move my jaw with the articulations in that passage. Jaw movements do allow for some shaping of the staccato notes. 17
Weissenborn Study #30 /en/lessons/bdp138/#chapter-5-54-18 However, my experience is that jaw movement when coordinated with tonguing is limited to the middle range of articulation numbers. It works with articulation numbers 2 or 3, but will not work well with articulations 5, 4, and 1. My point is that for the greatest variety of articulations you need to minimize or remove entirely the motion of the jaw or embouchure. ------------------------------------------------------------------------ # REFLECTION 18
Weissenborn Study #30 /en/lessons/bdp138/#chapter-6-19-19 This is the third part of our discussion of intonation on the bassoon. In this reflection I draw upon material I presented in an article published in the Double Reed journal: "Teaching the Beginning Bassoonist", The Double Reed 23/2 (2000): 35-43. http://www.2reed.net/EwellArticles/BeginningBassoonist_DR23_2.pdf 19
Weissenborn Study #30 /en/lessons/bdp138/#chapter-6-37-20 There are three registers on the bassoon. 20
Weissenborn Study #30 /en/lessons/bdp138/#chapter-6-44-21 In general there is a progression from sharper notes at the bottom of the registers to more neutral notes in the middle and then towards flatter notes at the top of the registers. The second register's progressions through the vowels are more rapid than the first register. The pitches tendencies are rather wild and uneven in the third register. 21
Weissenborn Study #30 /en/lessons/bdp138/#chapter-7-07-22 Moving between registers requires a rapid vowel shift. For instance, movement from E3 to F3 requires a quick shift from "ee" to "ah" to properly tune the notes. 22
Weissenborn Study #30 /en/lessons/bdp138/#chapter-7-24-23 Carefully experiment with other aspects of these registers. Mastering intonation on the bassoon requires that you understand these pitch tendencies on the instrument. Practicing scales and arpeggios with drones is a great way to gain mastery with intonation. http://www.2reed.net/2_drones.html 23
Weissenborn Study #30 /en/lessons/bdp138/#chapter-7-47-24 I will be explaining more about tuning and crossing over a register break in Weissenborn study #32. ## Note on F3 Acoustically F3 is the top note of the fundamental range of the bassoon, the upper most note of the first register. However, F3 is quite sharp on Heckel bassoons, and for this reason I am grouping it with the second register. It requires a vowel type closer to F#3 than E3. Your bassoon may be different. 24
Weissenborn Study #31 /en/lessons/bdp139/ Weissenborn Study #31 Weissenborn Opus 8/2, Study #31 for advanced bassoon Weissenborn Opus 8/2, Study #31 for advanced bassoon students. Discussion of rapid breathing and sprints over large leaps. By Terry B. Ewell, Bassoon Digital Professor. BDP #139. 0
Weissenborn Study #31 /en/lessons/bdp139/#chapter-0-18-01 Welcome, this is Terry Ewell. Weissenborn study #31 emphasizes fast and fluid fingering. I am not going to repeat practice methods presented earlier in studies such as 11, 14, 16, and 27, but I remind you to make ample use of rhythms and especially sprints. 1
Weissenborn Study #31 /en/lessons/bdp139/#chapter-0-43-02 Throughout this study I use my fast fingerings for Eb3 and Db4. 2
Weissenborn Study #31 /en/lessons/bdp139/#chapter-0-52-03 Line 5 has some particularly difficult measures to play. It is very important that your sprints don't stop at the measure line but go to the next note. Create segments that go to the next measure. The leaps are the most difficult part of the passage. 3
Weissenborn Study #31 /en/lessons/bdp139/#chapter-1-22-04 This is another study where rapid breathing is necessary. In some ways it reminds me of the last movement of the Tansman Sonatine. 4
Weissenborn Study #31 /en/lessons/bdp139/#chapter-1-30-05 Example Tansman. 5
Weissenborn Study #31 /en/lessons/bdp139/#chapter-1-46-06 Both the Tansman Sonatine and this study require rapid breathing in the middle of quick notes. The quickest way to catch a breath is to breathe by dropping the jaw, not raising the head. ------------------------------------------------------------------------ # REFLECTION 6
Weissenborn Study #31 /en/lessons/bdp139/#chapter-2-06-07 Be anxious for nothing, but in everything by prayer and supplication, with thanksgiving, let your requests be made know to God; (NKJV, Philippians 4:6) 7
Weissenborn Study #31 /en/lessons/bdp139/#chapter-2-19-08 We live in a time of great anxiety. This is particularly the case for musicians. 8
Weissenborn Study #31 /en/lessons/bdp139/#chapter-2-27-09 I worry about my performance ability, my reeds, or the demands of a difficult piece of music. I worry about living up to the expectations of others and particularly achieving my own demanding goals. Do you have these kinds of worries as well? 9
Weissenborn Study #31 /en/lessons/bdp139/#chapter-2-42-10 This verse from the Bible has provided great comfort for me. From this verse I realize that I can approach God with my worries and anxieties. He will listen! I can express my worries to Him and He will provide relief. 10
Weissenborn Study #32 /en/lessons/bdp140/ Weissenborn Study #32 Weissenborn Opus 8/2, Study #32 for advanced bassoon students. Subdivisions for better accuracy with rests. Drones vs. tuners, which is best for improving intonation? Weissenborn Opus 8/2, Study #32 for advanced bassoon students. Subdivisions for better accuracy with rests. Drones vs. tuners, which is best for improving intonation? By Terry B. Ewell, Bassoon Digital Professor. BDP #139. 0
Weissenborn Study #32 /en/lessons/bdp140/#chapter-0-19-01 Welcome, this is Terry Ewell. Weissenborn marks study #32 tempo di Marcia, which means in the tempo of a march. Thus, this study should not be performed too fast. 1
Weissenborn Study #32 /en/lessons/bdp140/#chapter-0-38-02 The most common rhythmic problem in the study occurs with the eighth note, sixteenth rest, and sixteenth note rhythms. Often this is rushed like this: Example of rushing m. 2 2
Weissenborn Study #32 /en/lessons/bdp140/#chapter-1-00-03 The key to performing this correctly is to hear the sixteenth note subdivisions in your mind while playing it. For instance, I will play what I hear in my mind: Example with sixteenth note tonguing. 3
Weissenborn Study #32 /en/lessons/bdp140/#chapter-1-26-04 I then think of the sixteenth notes when I perform: Example not rushing. 4
Weissenborn Study #32 /en/lessons/bdp140/#chapter-1-42-05 Let's return to our work with drones. Let me ask you two questions. "Is it better to work with a tuning machine or with drones?" "Which method is the best way to develop good intonation?" Picture of tuning machines and apps. 5
Weissenborn Study #32 /en/lessons/bdp140/#chapter-2-01-06 While I find a tuning machine of some value, practicing with drones is by far a superior way to improve your intonation. Tuning machines (tuners) train your eyes, but drones train your ears to adjust the intonation correctly. When you perform with others, you must use your ears to adjust your pitch not your eyes. 6
Weissenborn Study #32 /en/lessons/bdp140/#chapter-2-28-07 I find that students often practice daily on improving their fingering technique so that they can play faster. Rarely, however, do I find students who practice their intonation every day so that they play more in tune. Why don't you be someone special? Make working with drones a part of your daily routine! 7
Weissenborn Study #32 /en/lessons/bdp140/#chapter-2-53-08 I have free drones available for you on my website: http://www.2reed.net/ 8
Weissenborn Study #32 /en/lessons/bdp140/#chapter-2-58-09 Let's do some work on measure 1. In Weissenborn studies #28-30 I presented information on tuning with changes in vowels and also I presented the illustration of the three bassoon registers. 9
Weissenborn Study #32 /en/lessons/bdp140/#chapter-3-16-10 In measure 1 the D major arpeggio takes us through a portion of the first bassoon register and then crosses over to the second bassoon register. Let me explain the changes in vowels in another illustration. 10
Weissenborn Study #32 /en/lessons/bdp140/#chapter-3-32-11 Above the music I have made a chart that shows the vowel movement when I perform this music. The "ee" vowel places the tongue more toward the roof of my mouth. The "ah" vowel moves the tongue backwards and downwards. 11
Weissenborn Study #32 /en/lessons/bdp140/#chapter-3-51-12 D3, the first note, is slightly above a neutral vowel position for me. I don't quite use the fully raised "ee" vowel, but I am tending in that direction. As I move to A2 and then F#2 I move my tongue towards the "ah" vowel. F#2 has more "ah" tongue position than A2. 12
Weissenborn Study #32 /en/lessons/bdp140/#chapter-4-18-13 The motion from D3 to F#3 requires a sudden vowel movement. I must rapidly change from almost "ee" to very close to a full "ah" vowel during the change of the sixteenth note. In addition to vowel adjustments, I also slightly move the position of my jaw, my embouchure. 13
Weissenborn Study #32 /en/lessons/bdp140/#chapter-4-42-14 Here is the example played slowly. Example. 14
Weissenborn Study #32 /en/lessons/bdp140/#chapter-5-10-15 How do I determine the exact placement of my tongue? I use my ear to guide me. I am always seeking a full, rich tone with good intonation. In addition, I try to have the timbre or sound quality of the notes match each other. ------------------------------------------------------------------------ # REFLECTION 15
Weissenborn Study #32 /en/lessons/bdp140/#chapter-5-28-16 ... and the peace of God, which surpasses all understanding, will guard your hearts and minds through Christ Jesus. (NKJV, Philippians 4:7) 16
Weissenborn Study #32 /en/lessons/bdp140/#chapter-5-39-17 In the last reflection I discussed anxiety and how prayers to God can relieve worries. Here is the promise that God will provide relief. 17
Weissenborn Study #32 /en/lessons/bdp140/#chapter-5-52-18 When I pray to God I have faith that He will hear my prayers and provide relief. He often provides a calming presence to my spirit that gives me peace. I don't understand how this works with my mind, but I experience the reality of His power. 18
Weissenborn Study #32 /en/lessons/bdp140/#chapter-6-09-19 I don't know the worries and anxieties that you are facing at this moment. I do know, however, that God is willing and able to grant you this peace when you go to Him in prayer. 19
Weissenborn Study #33 /en/lessons/bdp141/ Weissenborn Study #33 Weissenborn Opus 8/2, Study #33 for advanced bassoon students. Suggestions for fingerings. A further discussion on where to breathe. How to lightly tongue. Weissenborn Opus 8/2, Study #33 for advanced bassoon students. Suggestions for fingerings. A further discussion on where to breathe. How to lightly tongue. By Terry B. Ewell, Bassoon Digital Professor. BDP #141. 0
Weissenborn Study #33 /en/lessons/bdp141/#chapter-0-19-01 Welcome to this video on Weissenborn study #33. I am Terry Ewell. 1
Weissenborn Study #33 /en/lessons/bdp141/#chapter-0-26-02 I play most of the notes on the bassoon with a single fingering, regardless of the dynamics of the note. C#4, however, is an unusual note because I often make use of three fingerings. 2
Weissenborn Study #33 /en/lessons/bdp141/#chapter-0-42-03 My standard fingering for C#4 is the "French" fingering. I choose this as my regular fingering because it is louder than the "fast" fingering and uses fewer fingers than the "full" fingering. Fewer fingers down allow for quicker movements. 3
Weissenborn Study #33 /en/lessons/bdp141/#chapter-0-59-04 The "fast" or left hand only fingering is used for the faster passages. For many Americans this is their standard fingering. 4
Weissenborn Study #33 /en/lessons/bdp141/#chapter-1-14-05 The "full" fingering provides a beautiful tone, and that is one I choose for lyrical and slower passages such as given in this study in the first four lines. I use the other two fingerings later in the study: the French C# when I want more resonance and the fast C# when the passage is difficult. I have not marked any of the C#s as alternate fingerings here so you will need to experiment with what works best for you. 5
Weissenborn Study #33 /en/lessons/bdp141/#chapter-1-44-06 I play the turn in line 1 measure 7 with normal fingerings. However, you might find it easier to use these fingerings as an alternative. In any case, you should remember these fingerings for trills and shakes. 6
Weissenborn Study #33 /en/lessons/bdp141/#chapter-2-03-07 The C#-D4 trill in line 2 is fingered like this: 7
Weissenborn Study #33 /en/lessons/bdp141/#chapter-2-03-08 Notice that I start with the full C# fingering then release the C# key and raise my left third finger. Then I trill the left third finger. 8
Weissenborn Study #33 /en/lessons/bdp141/#chapter-2-30-09 In study #9 I presented reasons for when and where to breathe. Line 3, measure 1 is another interesting case study. I have heard many students make this choice, breathing after B3 on the bar line. 9
Weissenborn Study #33 /en/lessons/bdp141/#chapter-2-30-10 The B3 does sound as if it is a resolution from the F#4. However, this is a musically poor choice! Let me now explain. 10
Weissenborn Study #33 /en/lessons/bdp141/#chapter-3-02-11 There is an important relationship between line 2, measures 5-8 and the following four measures ending with F#4 in line 3. These two four bar phrases are related. The second four bar phrase is an elaboration, and ornamentation of the first four bars. 11
Weissenborn Study #33 /en/lessons/bdp141/#chapter-3-25-12 Here are the first two measures of the two phrases. 12
Weissenborn Study #33 /en/lessons/bdp141/#chapter-3-42-13 Here are the second two measures of the two phrases. 13
Weissenborn Study #33 /en/lessons/bdp141/#chapter-3-58-14 Now, can you hear how they are related? The lower line in the example is an ornamentation or elaboration of the top line. Therefore the breath needs to come in the same place---after F#4. Thus, in line 3, measure 1 the B3 is a pickup to the next phrase. 14
Weissenborn Study #33 /en/lessons/bdp141/#chapter-4-23-15 Weissenborn further indicates this musical understanding by placing the "a" of a tempo immediately over the B3 in line 3, measure 5. He indicates that this B3 belongs as a pickup to the next phrase. You can clearly see the beginning of the phrase at the a tempo is identical to the prior phrase start. This should thus be phrased in the same way. 15
Weissenborn Study #33 /en/lessons/bdp141/#chapter-4-54-16 I will not comment on "rf," the caesuras, and tempos leading up to the fermata since I have discussed these in other videos. You can also observe how I present them in my performance in this video. I need to give you fingerings, however, for the mordents and the trill. 16
Weissenborn Study #33 /en/lessons/bdp141/#chapter-5-12-17 In line 6 the mordent on D4 to E4 is best fingered like this. The addition of the Eb resonance key gives a fuller sound to E4. 17
Weissenborn Study #33 /en/lessons/bdp141/#chapter-5-30-18 In line 6 the mordent on B3-C#4 is the standard trill fingering for those notes. 18
Weissenborn Study #33 /en/lessons/bdp141/#chapter-5-37-19 In line 10 on the fermata the trill from E4-F#4 is fingered like this: 19
Weissenborn Study #33 /en/lessons/bdp141/#chapter-5-45-20 Last of all, you might need to lightly tongue the slur to A#2 in line 4. If you choose to do this, don't tongue the center of the reed, rather tongue a corner of the reed. This will make the articulation less noticeable and still help the note to respond. Tonguing the corner of the reed yields a more legato articulation than tonguing in the center of the reed. 20
Weissenborn Study #33 /en/lessons/bdp141/#chapter-6-12-21 I assume that you are correctly flicking the articulated notes for A3, B3, Bb3, and C4. All your notes need to start cleanly. In line 12, the downward slur from E4 to A3 comes out best by flicking the A key. If you need to review flick keys please see studies 3 and 4. 21
Weissenborn Study #33 /en/lessons/bdp141/#chapter-6-12-22 ------------------------------------------------------------------------ # REFLECTION 22
Weissenborn Study #33 /en/lessons/bdp141/#chapter-6-40-23 A man who has friends must himself be friendly. (NKJV, Prov. 18:24) 23
Weissenborn Study #33 /en/lessons/bdp141/#chapter-6-45-24 The importance of making friends should not be underestimated in the music industry. It is often people who know you who recommend you for jobs. During the interview process for the first university where I was hired there was a person on the search committee who knew me from our days in a youth orchestra. His advocacy was important for me getting the chance to interview for the job. This was the job that started my full-time academic career. 24
Weissenborn Study #33 /en/lessons/bdp141/#chapter-7-17-25 It is usually the case that when you interview or audition for a bassoon position in the USA, your committee will be comprised of non-bassoonists. For instance, when a university replaces a bassoon professor position, that bassoon teacher is not on the committee. The committee may contain other woodwind teachers, or performers, or professors or staff from other fields. Remember that your friendships should go out to people who perform different instruments or do other things in music. Be friendly to many people, not just those who play the bassoon. 25
Weissenborn Study #34 /en/lessons/bdp142/ Weissenborn Study #34 Weissenborn Opus 8/2, Study #34 for advanced bassoon Weissenborn Opus 8/2, Study #34 for advanced bassoon students. Suggestions for fingerings. Overview of 2reed.net. Discussion of embouchure positions. By Terry B. Ewell, Bassoon Digital Professor. BDP #142. 0
Weissenborn Study #34 /en/lessons/bdp142/#chapter-0-19-01 Welcome, this is Terry Ewell. Weissenborn study #34 is another perpetuum mobile study that tests the student's finger technique. However, one of the most difficult parts for students is holding the half note for full value and counting out the half note rest. Subdivisions of eighth notes will help to keep the tempo steady. 1
Weissenborn Study #34 /en/lessons/bdp142/#chapter-0-47-02 I have mentioned techniques for practicing rapid notes in earlier studies. Please refer to the videos on studies 11, 14, 16, and 27. Sprints in particular will help you to develop rapid, even, and smooth fingerings. 2
Weissenborn Study #34 /en/lessons/bdp142/#chapter-1-04-03 In line 4 I do not use an alternate fingering for E4. This is not too fast to use the regular fingerings for D4 and E4. I do, however, use the fast or short C#4 fingering here and throughout most of the study. 3
Weissenborn Study #34 /en/lessons/bdp142/#chapter-1-19-04 In line 7 I make use of the fast D#3 fingering to simplify this passage. 4
Weissenborn Study #34 /en/lessons/bdp142/#chapter-1-33-05 One last alternate fingering that is very helpful for this study is found in the second to last line, line 11. I start with my normal F#4 fingering, move to this alternate E#4 (F4) fingering and then proceed with the passage as normal. 5
Weissenborn Study #34 /en/lessons/bdp142/#chapter-1-49-06 Let me conclude this pedagogy portion of the video with a brief overview of the resources I have provided on 2reed.net. This is a website I maintain for you. It mostly contains my materials, but there are a few contributions from my other colleagues. In addition, there are links to many other resources available on the Internet. 6
Weissenborn Study #34 /en/lessons/bdp142/#chapter-2-19-07 This is the top of the home page for 2reed.net. Important links for you are on the left and top of the page. There is information on auditions, careers, life and health, performance, practicing, reed making, and teaching. The "Awesome things" link provides many free materials. 7
Weissenborn Study #34 /en/lessons/bdp142/#chapter-2-35-08 At the top are links to free music and ringtones I created, and a few music quizzes I have used in my courses at Towson University. 8
Weissenborn Study #34 /en/lessons/bdp142/#chapter-2-48-09 Here are the links to drones and fingerings. There are also materials on the site for Korean and Chinese speakers. 9
Weissenborn Study #34 /en/lessons/bdp142/#chapter-3-00-10 The area of the site that might interest you the most is the Bassoon Digital Professor. You can access this site directly with this address: www.2reed.net/bdp 10
Weissenborn Study #34 /en/lessons/bdp142/#chapter-3-14-11 Here is the top of the home page for the Bassoon Digital Professor. It contains the links we observed on the other page. However below the title you will see links to listings of the BDP videos in order. 11
Weissenborn Study #34 /en/lessons/bdp142/#chapter-3-32-12 Here, for instance, is a portion of the listing in the first 100 videos. You will find there a summary of the videos, a YouTube link if the video is posted there, and a link to the videos and materials on my website. Let's return to the Bassoon Digital Professor main page. 12
Weissenborn Study #34 /en/lessons/bdp142/#chapter-3-55-13 Further down the page I have provided a recommended sequence of study and also a topical listing of the videos. This will help you to further find materials that interest you at the time. 13
Weissenborn Study #34 /en/lessons/bdp142/#chapter-4-07-14 You may be watching this video on YouTube. 2reed.net, however, provides many additional materials not available on YouTube. For instance, on 2reed.net each video is provided in multiple formats for ease of viewing and saving on your devices. I have provided transcripts with many of my videos which may be helpful for further study or translation into other languages. There are also links to other study materials. 14
Weissenborn Study #34 /en/lessons/bdp142/#chapter-4-34-15 I am sorry that 2reed.net is only periodically updated. I wish I had more time to spend on it, but I have prioritized other items such as producing the Weissenborn videos more highly. You will notice that most of my materials are presented free of charge. Since I consider it a ministry, I don't receive payment from advertisements on the website or with my videos. I hope that you will find this resource helpful as you continue to grow as a musician and person. ------------------------------------------------------------------------ # REFLECTION 15
Weissenborn Study #34 /en/lessons/bdp142/#chapter-5-07-16 One of the goals I have as a performer is to gain the skills that will allow for greater expression in music. I think this is a bit similar to being a painter. Painters want access to as many colors as possible. Being limited to just one or two colors would stifle creativity. Similarly I want as many expressive tools as possible to choose from when I perform. Then I can choose the right "color" for the moment. 16
Weissenborn Study #34 /en/lessons/bdp142/#chapter-5-45-17 Embouchure placement plays an important role in tone color on the bassoon. Let me draw out a few ideas from an article I wrote called, "Double Reed Embouchures" which is published in Celebrating Double Reeds: A Festschrift for William Waterhouse and Philip Bate. 17
Weissenborn Study #34 /en/lessons/bdp142/#chapter-6-08-18 Here is an example of a typical embouchure on bassoon: 18
Weissenborn Study #34 /en/lessons/bdp142/#chapter-6-12-19 Notice that the lips cushion the reed over the teeth. The teeth don't contact the reed at all. 19
Weissenborn Study #34 /en/lessons/bdp142/#chapter-6-22-20 Parallel Embouchure Positions I mentioned in the video on Weissenborn #26 that the parallel embouchure helps with downward slurs and rapid shifts between registers on the bassoon. There are, however, multiple parallel embouchures that are possible on the bassoon reed. 20
Weissenborn Study #34 /en/lessons/bdp142/#chapter-6-41-21 The further the reed extends into the mouth the more reed blade surface vibrates. More vibrating area means more sound. In addition, changes in the amount of the reed blade vibrating will change the timbre or sound quality. Lots of reed in the mouth such as in 1A provides a more raucous, nasal, or vibrant sound. Less reed in the mouth such as 1C will yield a dampened and darker sound. Since 1A gives a larger opening on the reed more air is needed to support the sound. 21
Weissenborn Study #34 /en/lessons/bdp142/#chapter-7-24-22 Also the intonation will change with these embouchures! Embouchure 1A tends to give a sharper pitch (when supported with air) than 1C. Pulling the reed out of the mouth lengthens the bore of the instrument resulting in slightly lower pitch. 22
Weissenborn Study #34 /en/lessons/bdp142/#chapter-7-38-23 The normal bassoon embouchure is slightly offset since the lower teeth are behind the upper teeth. 23
Weissenborn Study #34 /en/lessons/bdp142/#chapter-7-51-24 Offset Embouchure Positions The amount of reed in the mouth in the offset embouchure also determines the sound quality and to some extent the pitch. 24
Weissenborn Study #34 /en/lessons/bdp142/#chapter-8-01-25 I talk further about embouchure placement in my video on Osborne's Rhapsody, part 1, BPD #104. 25
Weissenborn Study #34 /en/lessons/bdp142/#chapter-8-10-26 God willing I will discuss embouchure placement further in my future video on Weissenborn study #50. ------------------------------------------------------------------------ 26
Weissenborn Study #35, Part A /en/lessons/bdp143a/ Weissenborn Study #35, Part A Weissenborn Opus 8/2, Study #35A for advanced bassoon Weissenborn Opus 8/2, Study #35A for advanced bassoon students. Discussion of note lengths, fingerings, rinforzando, and marcato. The four components that can be used to make vibrato. By Terry B. Ewell, Bassoon Digital Professor. BDP #143A. 0
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-0-19-01 Welcome, this is Terry Ewell. Weissenborn study #35 is the case study for the rinforzando or "rf" markings. Weissenborn uses this mark throughout his studies to indicate a special type of emphasis in the quieter dynamics. Let's examine the two comparable passages in the study that illustrate how the "rf" markings are employed. 1
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-0-50-02 Notice the similarity between the musical passages. At the start of the study the "rf" is placed as the climax of a quieter dynamic. In lines 9 and 10 a "sf" is placed at the climax in the louder dynamic. Thus you can see that "rf" is a special kind of stress in the quieter dynamics much like "sf" is a special kind of stress in the louder dynamics. You might say that "rf," rinforzando, is a quieter "sf," sforzando. The "sf" can also be written as "sfz." 2
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-1-32-03 Many students make the mistake of thinking that staccato notes are always short. Staccato doesn't mean short, it means separated. There should be some length to the opening staccato notes. 3
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-1-48-04 In line 2 the portato notes, that is, staccato notes with slurs over them, are performed with even greater length. 4
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-2-01-05 Do you remember the five articulation lengths we practiced in the earlier studies? The lengths of these notes here should be 4 or 5. If you have mastery over these lengths, you can even create phrase shaping with notes lengths. For instance, I will play this passage and increase the note lengths from 4 to 5 in order to provide musical motion to the G#3 on the downbeat of line 3, measure 1. 5
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-2-37-06 Don't forget that accidentals carry through the measure. In line 4 measure 5 there are two D sharps. Line 5 measure 1 also has two D sharps. 6
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-2-52-07 A staccato mark refers to the length of the note not the start of the note. It doesn't mean that the note is tongued just because there is a staccato mark over it. For instance, in line 9 the dots over the notes indicate a separation between it and the next note, however, they are slurred not tongued. 7
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-3-13-08 2019 Correction: I realize now that the statements above below are wrong. At the time I was recalling some piano music I had studied, but it is clear here and in other contexts that the note with the dot under the slur is re-articulated, tongued. For example, see this excerpt from Tchaikovsky's 2nd Symphony, the oboe solo in the second movement. 8
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-3-13-09 End 2019 Correction 9
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-3-13-10 F#3 starts with the tongue and then slurs to E#3. Two beats later B3 starts with the tongue then slurs down to A3. 10
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-3-27-11 There are a few alternate fingerings I use in the study. In line 3 at the fermata I use the thumb G# key for a smoother transition from F#4. My standard F#4 uses the right hand little finger. 11
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-3-46-12 In line 7, measure 6 I use the trill fingering for the fast B3 to C#4 exchange. 12
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-3-57-13 Similarly in line 10, measure 2 I also use the trill fingering for movements between F#4 and G#4. 13
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-4-04-14 Weissenborn #37 will provide methods for practicing trills. Let me provide some fingerings, however, for this study. For the trill in Line 4 in the first complete measure use this fingering. 14
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-4-19-15 For the second trill in that line use this fingering. 15
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-4-23-16 For the trill in line 9 you have two choices. I prefer the left hand C#4 but you can also use the C# trill key. 16
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-4-30-17 This is the first study with high C#, C#5. I use one of these three fingerings depending on my needs. The first fingering is the most common. It is not quite as full or loud as the last fingering, but is the easiest to use of the three and enunciates quite well. I almost always use both the D and C vent keys when I play this note. 17
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-5-06-18 The second fingering provides a good approach to D#5, when needed. The last fingering is especially good when a loud dynamic is needed. This fingering is my choice for the exalted C#5 in the Shostakovich 9th symphony, fourth movement. 18
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-5-27-19 This is the first study in the collection that uses marcato markings. Marcato markings indicate even more forceful and intense accents than regular accents. Weissenborn further provides the term marcatissimo to emphasize the extreme accents in line 9. 19
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-5-50-20 Notice the similarity between the quieter passage in line 6 and the louder passage in line 9. I have marked in breaths in lines 6-7 and 9-10. You don't need to actually breathe each time, however, provide separation there and don't breathe after the pair of slurred quarter-notes. ------------------------------------------------------------------------ # REFLECTION Musical Expression vibrato 20
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-6-13-21 In this reflection I will discuss vibrato. First I will identify possible sources for the vibrato and then recommend the use of a certain sound production component to produce vibrato. 21
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-6-27-22 Then I will apply "vibrato drives" or vibrato phrasing to some examples from the study and conclude with some exercises for vibrato mastery. 22
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-6-39-23 Some of the material provide here is drawn from the Second Chapter of my monograph titled "Wind Performer's Guide to Increasing Endurance." 23
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-6-53-24 Bassoon performers have created vibrato from most of the five components for sound production: Component 1, the abdominal muscles; component 2, the throat area (larynx); from component 3, the back or pharangeal part of the tongue (this is the part of the tongue in the upper throat); and from component 5, the embouchure. 24
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-7-22-25 Component 1, the abdominal area, produces a slow and heavily pulsing vibrato. Many performers think that they produce vibrato from the abdominal area, but X-ray videos and small camera scopes have shown that the vibrato most bassoonists make originates in the throat area. These performers are probably feeling the back pressure in the abdominal area from the motions in the throat. When I produce a slow vibrato I have the sensation of vibrato in my abdominal area. As I increase the speed of the vibrato, however, the sensation appears to move up the wind column towards the throat. 25
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-8-07-26 I do not recommend vibrato made from components 1 and 5. Component 1, the abdominal muscles should be employed for dynamic changes only. It also doesn't produce the variety of speeds needed. When component 5, the embouchure or jaw, is used for vibrato it can vary the pitch too much. In addition, it is best to reserve the embouchure for tuning and shaping notes. 26
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-8-39-27 I recommend using the throat area, component 2, since this area is not employed for any other sound production needs. Component 2 can then operate independently from the other components. Some performers also sympathetically move part of the tongue in the throat when they create vibrato. 27
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-9-07-28 Many vibrato studies of woodwind instrument performers indicate that although the mechanisms for vibrato are contained in the throat area, the muscle groups used for vibrato can vary widely. There are many moving parts in our throat areas. Some parts are used by certain performers and other muscles and structures are employed by other people for vibrato. 28
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-9-29-29 Larynx Illustration from Henry Gray, Anatomy of the Human Body, 1918, accessed from www.bartleby.com, 16 Aug 2006. 29
Weissenborn Study #35, Part A /en/lessons/bdp143a/#chapter-9-35-30 I provide references at the end of the video (see the transcript for Weissenborn 35B) if you wish to learn more about vibrato. 30
Weissenborn Study #35, Part B /en/lessons/bdp143b/ Weissenborn Study #35, Part B Weissenborn Opus 8/2, Study #35B for advanced bassoon Weissenborn Opus 8/2, Study #35B for advanced bassoon students. Using vibrato for phrasing. Ways to practice vibrato. Performance of study #35. By Terry B. Ewell, Bassoon Digital Professor. BDP #143B. 0
Weissenborn Study #35, Part B /en/lessons/bdp143b/#chapter-0-00-01 There are drawbacks to a throat vibrato. Sometimes it can result in a "nanny goat" vibrato that is too fast. In other individuals the vibrato can be choked off at each pulse. In both cases it is important to support properly the tone and view the vibrato as coloration or gentle massaging of the tone. In all cases, seek to relax the throat area and allow free movement. 1
Weissenborn Study #35, Part B /en/lessons/bdp143b/#chapter-0-33-02 Using the throat for the vibrato allows for vibrato to be independent of fingering and pitch control. However, I many times find students restarting the vibrato with each note change. Take, for instance, the pickup to line 7 in Weissenborn Study #35. Often it is played like this: 2
Weissenborn Study #35, Part B /en/lessons/bdp143b/#chapter-0-55-03 Example with vibrato restarting 3
Weissenborn Study #35, Part B /en/lessons/bdp143b/#chapter-1-07-04 There are times at which I will restart my vibrato like that. 4
Weissenborn Study #35, Part B /en/lessons/bdp143b/#chapter-1-12-05 However, that is a coloration of the notes rather than an expression of music motion or phrasing. I prefer to be able to do both. Many of my students, however, at first can only turn on the vibrato with the start of each note. 5
Weissenborn Study #35, Part B /en/lessons/bdp143b/#chapter-1-28-06 Let's practice the musical phrase---a drive---with dynamics and vibrato, on a monotone. Playing on a single tone is a great practice method for musical gestures. This really helps you to isolate musical phrasing, dynamics, and vibrato. I will set the metronome so that you can hear the beats. 6
Weissenborn Study #35, Part B /en/lessons/bdp143b/#chapter-1-53-07 Example Play on single note 7
Weissenborn Study #35, Part B /en/lessons/bdp143b/#chapter-2-15-08 Did you hear that I am shaping the notes, driving the notes to the downbeat of the second measure? 8
Weissenborn Study #35, Part B /en/lessons/bdp143b/#chapter-2-23-09 Here it is again. Example single note. 9
Weissenborn Study #35, Part B /en/lessons/bdp143b/#chapter-2-43-10 Did you notice that I am varying both the dynamics and my vibrato? Both are creating a continuous arc or rainbow of sound that is not chopped up. 10
Weissenborn Study #35, Part B /en/lessons/bdp143b/#chapter-2-53-11 Now let's hear that as written, but retaining the same phrase shape. 11
Weissenborn Study #35, Part B /en/lessons/bdp143b/#chapter-3-01-12 Example as written 12
Weissenborn Study #35, Part B /en/lessons/bdp143b/#chapter-3-27-13 Just a few studies ago Weissenborn provided us with another example for practicing vibrato. Take a look at the opening of study #33. 13
Weissenborn Study #35, Part B /en/lessons/bdp143b/#chapter-3-35-14 For instance, I start with two, 2-bar gestures followed by a much longer phrase. Notice that I use changes in the dynamics and vibrato to emphasize the phrase shaping. 14
Weissenborn Study #35, Part B /en/lessons/bdp143b/#chapter-3-51-15 Example from video 15
Weissenborn Study #35, Part B /en/lessons/bdp143b/#chapter-4-40-16 You can practice mastery of your vibrato by varying the speed. Set the metronome to 60 and try varying the number of pulses per beat. 16
Weissenborn Study #35, Part B /en/lessons/bdp143b/#chapter-4-48-17 Play: 11 22 33 44 55 44 33 22 11 17
Weissenborn Study #35, Part B /en/lessons/bdp143b/#chapter-5-36-18 Most often people increase the speed of their vibratos in tandem with an increase in dynamics. This is what I did in the two examples earlier in this video. However, if you really want mastery of vibrato you need to vary the speed at any dynamic. You will know that you have gained independent control of components 1 and 2 when you can perform these exercises: 18
Weissenborn Study #35, Part B /en/lessons/bdp143b/#chapter-6-04-19 These exercises continue in the video. ------------------------------------------------------------------------ 19
Weissenborn Study #36 /en/lessons/bdp144/ Weissenborn Study #36 Weissenborn Opus 8/2, Study #36 for advanced bassoon Weissenborn Opus 8/2, Study #36 for advanced bassoon students. Shaping the phrase through tongued notes. My encounter with God, part A. By Terry B. Ewell, Bassoon Digital Professor. BDP #144. 0
Weissenborn Study #36 /en/lessons/bdp144/#chapter-0-18-01 Welcome, this is Terry Ewell. Perhaps the most difficult aspect of study #36 is keeping the dotted eighth and sixteenth note rhythm. It is very easy to create triplets like this: 1
Weissenborn Study #36 /en/lessons/bdp144/#chapter-0-43-02 Instead the sixteenth notes need to be one fourth of each beat. 2
Weissenborn Study #36 /en/lessons/bdp144/#chapter-0-56-03 In the third complete measure of line 1 I like to use the French C# fingering so I will use the alternate fingering for G#3 to avoid shifting my right hand little finger. 3
Weissenborn Study #36 /en/lessons/bdp144/#chapter-1-11-04 Let's work on shaping articulated phrases. Many students have no difficulty making musical expression with slurred phrases. I will play this without the mordent and here with slurs. 4
Weissenborn Study #36 /en/lessons/bdp144/#chapter-1-33-05 However, when you introduce the tongue (component 4) all of a sudden component 1 (the air) no longer works independently! Here is the phrase slurred first and then tongued. I will use the same air when phrasing both. 5
Weissenborn Study #36 /en/lessons/bdp144/#chapter-1-33-06 ------------------------------------------------------------------------ # REFLECTION 6
Weissenborn Study #36 /en/lessons/bdp144/#chapter-1-59-07 Music has been a part of my life since a very young age. In kindergarten, teachers discovered some musical talent in me and I started study on the piano sometime in the first grade. Later I started the bassoon in the 4th grade. In the midst of all that musical training I never guessed that I would discover God. I thought that you found God in a church. But that isn't where my life was touched by Him. 7
Weissenborn Study #36 /en/lessons/bdp144/#chapter-2-34-08 I attended a music camp (Marrowstone Music Festival) in the Pacific Northwest at the age of 15. It was a three-week camp and I think it was the second summer I attended. A friend of mine had been to a church camp the prior month and his life was dramatically altered through an experience there. When he accepted Jesus into his life he felt a dramatic change. He told me that he now prayed on his paper route for dogs not to bite him and for God's help in all his other duties. He said that God did indeed help him and life was different. Now, he even read the Bible enthusiastically every day. 8
Weissenborn Study #36 /en/lessons/bdp144/#chapter-3-21-09 I was familiar with the Bible since I had attended a church for several years with my family. However, I didn't understand much about Jesus's life, how a person could communicate with God, and on the whole I didn't see any relevancy to any of it. However, as we talked more and more it started to make sense. It was a Thursday evening and it was now time to go to our evening orchestra rehearsal. We arrived at the hall only to see a sign posted that the rehearsal was canceled. All the years I attended the camp as a student and later as a teacher (8 years in all) a rehearsal has been canceled only once: that very evening. We went back to our dormitory and talked some more. He lent me his Bible to read that evening. I don't remember the exact moment of the change but sometime that evening I knew that I connected with God; I had found God. I had asked God to change my life and I yielded myself to Him. I distinctly remember the way in which my mind changed. It was as if a fog had been lifted from my brain. Colors seemed brighter, I began to understand spiritual things in a different way, and for the first time I felt peace in my life. This was a tremendous transformation for me: the greatest I have ever experienced in my life. If you are interested in making this choice in your life please see the following. God bless you: http://www.2reed.net/choice/ 9
Weissenborn Study #37 /en/lessons/bdp145/ Weissenborn Study #37 Weissenborn Opus 8/2, Study #37 for advanced bassoon Weissenborn Opus 8/2, Study #37 for advanced bassoon students. Shaping the phrase through tongued notes. My encounter with God, part B. By Terry B. Ewell, Bassoon Digital Professor. BDP #145. 0
Weissenborn Study #37 /en/lessons/bdp145/#chapter-0-18-01 Welcome, this is Terry Ewell. This is the Weissenborn study famous for trills! My students usually dread playing this study. Perhaps for that reason, none of my students volunteered to perform this for the video series. 1
Weissenborn Study #37 /en/lessons/bdp145/#chapter-0-40-02 Let me provide a systematic practice method for trills that will help you master them. Trills have two components, the body and the nachschlag or termination. Nachschlag is the German term for the end portion of the trill. 2
Weissenborn Study #37 /en/lessons/bdp145/#chapter-0-58-03 Notice that when an accidental is given above the trill, you need to add that accidental. For instance, the first trill is from B3 to C#4. The sharp over the trill indicates this. 3
Weissenborn Study #37 /en/lessons/bdp145/#chapter-1-13-04 Practice each component of the trill separately first. Focus on fluid finger movements and correct timing. Make certain to accurately meet the next beat. Let me practice now with a metronome. I will have eighth notes indicated with the metronome. 4
Weissenborn Study #37 /en/lessons/bdp145/#chapter-1-29-05 Next I practice the nachschlag. Notice that the nachschlag takes place during one fourth of the note. Here it is written out: 5
Weissenborn Study #37 /en/lessons/bdp145/#chapter-2-03-06 Now I practice with the two put together. You might want to first practice by stopping the body of the trill on the middle of the beat and then playing the nachschlag. 6
Weissenborn Study #37 /en/lessons/bdp145/#chapter-2-27-07 Then you can practice the full trill with the nachschlag. 7
Weissenborn Study #37 /en/lessons/bdp145/#chapter-2-41-08 Use this method practice for all of the trills in this study. Then go on to musically shape the trills. Vary your metronome setting as appropriate. You will find that this practice method also helps with the Mozart Bassoon Concerto and other bassoon repertoire. 8
Weissenborn Study #37 /en/lessons/bdp145/#chapter-3-03-09 Here are the fingerings for the trills in the first line. 9
Weissenborn Study #37 /en/lessons/bdp145/#chapter-3-33-10 In line 4 the C4 to D4 trill fingerings are the standard fingerings. The E4-F#4 has been given above. I use the alternate, left hand A4 fingering for the turn. Here are the fingerings for G4, A4, (G4 repeated), and F#4. 10
Weissenborn Study #37 /en/lessons/bdp145/#chapter-4-02-11 In this figure the red lines indicate the order of the fingerings moving from left to right. The blue lines show the position of the first and last fingerings for the turn. 11
Weissenborn Study #37 /en/lessons/bdp145/#chapter-4-30-12 Here are the fingerings for the trills in lines 7 and 9. 12
Weissenborn Study #37 /en/lessons/bdp145/#chapter-4-47-13 I choose to lightly tongue the low B in line 2, measure 2 at the fermata. I tongue the corner of the reed not directly in the center. This still provides the sound of a slur but aids with the start of the low note. 13
Weissenborn Study #37 /en/lessons/bdp145/#chapter-4-59-14 The rhythms in lines 8 and 9 are difficult. Practice carefully with a metronome to master the transitions between the 4 and 6 divisions of the beat. 14
Weissenborn Study #37 /en/lessons/bdp145/#chapter-5-11-15 Line 10, measure 2 reminds me of getting on a merry-go-round as a child. Have you had that experience? When the merry-go-round is moving you need to run to get up to speed to hop on to it. In the same way you need to have the divisions of 6, the triplet 16ths going in your mind to "hop" on to the second beat. 15
Weissenborn Study #37 /en/lessons/bdp145/#chapter-5-11-16 ------------------------------------------------------------------------ # REFLECTION 16
Weissenborn Study #37 /en/lessons/bdp145/#chapter-5-39-17 This is a continuation of my reflection in Weissenborn study number 36. 17
Weissenborn Study #37 /en/lessons/bdp145/#chapter-5-47-18 A week or so after camp was over I went back to study piano lessons with Bela Siki. Before I had played more than about two or three phrases he stopped me and said, "Something has changed. Your touch is much more sensitive." I was too shy and embarrassed to explain the transformation that occurred in my life. In fact I was still trying to process just what was happening. It hadn't occurred to me that my musicality would be changed as well. 18
Weissenborn Study #37 /en/lessons/bdp145/#chapter-6-27-19 Now I understand that God wants to touch and improve every aspect of my life. I began to realize that God was working in my inner self and anything that came out of it--thoughts, language, music, actions--would be impacted by those changes. Clearly I can't say that I somehow earned that change in my life. I wasn't devoted to a quest to find God and truth. It is more accurate to say that God sought me rather than I sought God. I was just going about living, trying to practice bassoon and piano, doing my school work, surviving adolescence, etc. But now when I look back on my life I realize that there were many times when I felt the presence of God or the pull of His spirit. Over and over again God was trying to get my attention and communicate with me. Please understand that I am not finished changing! The process that was begun on August 9th, 1973 was just the start. There is a lot of work yet to be done with me. I fail every day to live up to my full potential. However, I am also at peace knowing that God is working with me, in me, and through me. I suspect that if you are honest you will also acknowledge that you have felt the pull of God at times in your life. He has the peace, fulfillment, and happiness you have been searching for. I had a young friend who told me about Jesus and God. Let me be your friend and tell you as well. For further information please see this website. God bless you. http://www.2reed.net/choice/ ------------------------------------------------------------------------ 19
Weissenborn Study #38 /en/lessons/bdp146/ Weissenborn Study #38 Weissenborn Opus 8/2, Study #38 for advanced bassoon Weissenborn Opus 8/2, Study #38 for advanced bassoon students. Determining musical goals or climaxes. Phrases and appoggiaturas. Guest performer Vincent Igusa. By Terry B. Ewell, Bassoon Digital Professor. BDP #146. 0
Weissenborn Study #38 /en/lessons/bdp146/#chapter-0-19-01 Welcome, this is Terry Ewell. Study number 38 is one that tests endurance and your ability to take quick breaths. Notice that I place the breaths after the first eighth notes in the measures. Students are often tempted to breathe on the bar line, but this is often not a good choice. 1
Weissenborn Study #38 /en/lessons/bdp146/#chapter-0-40-02 I have provided some dynamics since the contrast makes the study more interesting. 2
Weissenborn Study #38 /en/lessons/bdp146/#chapter-0-45-03 I remind you to make use of the flick or vent keys. When two quick notes in a row need flicking, I hold down a single key. For instance, in measure 1 I hold down the C flick key for B3 and A3. 3
Weissenborn Study #38 /en/lessons/bdp146/#chapter-1-09-04 If you have not seen the earlier videos on flicking, please review studies 3 and 4. 4
Weissenborn Study #38 /en/lessons/bdp146/#chapter-1-16-05 Also work on clean articulations for G#4, G#3 and F#3. You must use half holes on these notes. Here are the opening first four measures played slowly so that you can observe my half hole and flicking techniques. 5
Weissenborn Study #38 /en/lessons/bdp146/#chapter-1-16-06 ------------------------------------------------------------------------ # REFLECTION 6
Weissenborn Study #38 /en/lessons/bdp146/#chapter-1-55-07 Is there a "correct or perfect way" to perform or express music? On the whole I would have to answer this question "no." Music is ambiguous and has multiple expressions and meanings so there is often more than one way to perform musically. However, there are certainly better ways to perform and worse ways to perform. If one wishes to perform well, it must be with musical understanding and musical expression. 7
Weissenborn Study #38 /en/lessons/bdp146/#chapter-2-36-08 Let's briefly examine some simple musical gestures and goals in phrases. 8
Weissenborn Study #38 /en/lessons/bdp146/#chapter-2-42-09 The climaxes or goals in typical musical phrases are more like Christmas in December than Independence Day in July. Did you ever have an advent calendar? Our family had one and I remember the many days it took until Christmas was finally reached. Each day opening a new window meant we were closer to the event, but Christmas was always a long anticipated goal. 9
Weissenborn Study #38 /en/lessons/bdp146/#chapter-3-15-10 Independence Day would make for a horrible advent calendar. After three days of the calendar, the holiday in the USA, July 4th, would have arrived. There is not much anticipation of the holiday in that month. 10
Weissenborn Study #38 /en/lessons/bdp146/#chapter-3-29-11 I repeat again, typical musical phrases are like Christmas in December. The climaxes or awaited goals come after much preparation. 11
Weissenborn Study #38 /en/lessons/bdp146/#chapter-3-45-12 Let's examine some typical phrases in the Weissenborn studies. Standard musical phrases in Common Practice music---especially those from the Classical Period---have four measures. You can observe here that Weissenborn study #38 has four measure phrases in the opening. 12
Weissenborn Study #38 /en/lessons/bdp146/#chapter-4-01-13 The goals in these four measure phrases occur in the fourth measure of the phrases. 13
Weissenborn Study #38 /en/lessons/bdp146/#chapter-4-26-14 Study #34 also starts with four measure phrases and the goals are best placed on the downbeats of the fourth measures. Moving shorter notes towards longer notes is a good musical practice. Placing the goal on the downbeat of the third measure is also possible, but I think this study exhibits an eagerness to get to the last notes, the longer notes without delay. 14
Weissenborn Study #38 /en/lessons/bdp146/#chapter-5-15-15 Study #35 has four measure phrases that start with pickups or upbeats. 15
Weissenborn Study #38 /en/lessons/bdp146/#chapter-5-47-16 In order to perform musically you must identify the phrase and the musical goal. Musical goals often occur on the downbeat of the fourth measure of a four bar phrase, however, the composer might indicate another location for the goal with dynamics. 16
Weissenborn Study #38 /en/lessons/bdp146/#chapter-6-05-17 Sometimes the four measure phrase is divided into two parts, each with its own musical goal. Generally the second goal of the four measure phrase is the most significant of the two. For instance, that is how I shape Weissenborn study #36. 17
Weissenborn Study #38 /en/lessons/bdp146/#chapter-6-46-18 Notice that there are red arched lines with arrows at their right end and left end. Arrows at the right end indicate motion forward towards the musical goal. Arrows at the left end indicate relaxations away from the music goals. 18
Weissenborn Study #38 /en/lessons/bdp146/#chapter-7-02-19 Let me conclude this reflection with a brief look at Weissenborn study #39. This will also prepare you for the next video! 19
Weissenborn Study #38 /en/lessons/bdp146/#chapter-7-15-20 Weissenborn study #39 has a similar placement of goals to those in study #36. In addition, however, study #39 makes use of an important melodic device that often indicates a musical goal. This melodic device is called the appoggiatura. If you can study only one ornament in the Baroque or Classical period it should be the appoggiatura. 20
Weissenborn Study #38 /en/lessons/bdp146/#chapter-7-46-21 The appoggiatura is so important that Quantz lists it first in his treatise on Baroque performance practice. Generally this is a very expressive dissonance placed in a rhythmically prominent position (such as the musical goal) that then resolves downward. 21
Weissenborn Study #38 /en/lessons/bdp146/#chapter-8-03-22 In line 5 there is a four measure phrase with an appoggiatura at the climax. 22
Weissenborn Study #38 /en/lessons/bdp146/#chapter-8-10-23 Line 5 with pickup. Let me play it for you. 23
Weissenborn Study #38 /en/lessons/bdp146/#chapter-8-35-24 In the opening of the study Weissenborn presents two four measure phrases with ornamented versions of the appoggiatura. Don't let the sixteenth note confuse you. These are still appoggiaturas, dissonant notes, presented on the downbeats. Here are measures 3-4 without the appoggiatura. 24
Weissenborn Study #38 /en/lessons/bdp146/#chapter-9-12-25 It sounds OK, but it really is more expressive with the appoggiatura. 25
Weissenborn Study #38 /en/lessons/bdp146/#chapter-9-27-26 I think now you can hear why so many composers favor the appoggiatura. It makes the music much more expressive! Here is how it sounds as written, with the 16th note. 26
Weissenborn Study #38 /en/lessons/bdp146/#chapter-9-52-27 Now that we have established the phrase and the goal, I shape each note in the phrases so that they are joined together as one family. Notes before the goal lead to the climax. Notes after the goal, lead away from it; they relax. 27
Weissenborn Study #38 /en/lessons/bdp146/#chapter-10-12-28 Performance with arrows and goals indicated. 10:12 28
Weissenborn Study #38 /en/lessons/bdp146/#chapter-10-14-29 In the next reflection in Weissenborn study #39, I will present how you make motion in music by means of rubato. ------------------------------------------------------------------------ 10:14 29
Weissenborn Study #39 /en/lessons/bdp147/ Weissenborn Study #39 Weissenborn Opus 8/2, Study #39 for advanced bassoon Weissenborn Opus 8/2, Study #39 for advanced bassoon students. Roller coasters and rubato. By Terry B. Ewell, Bassoon Digital Professor. BDP #147. 0
Weissenborn Study #39 /en/lessons/bdp147/#chapter-0-18-01 Welcome, this is Terry Ewell. Weissenborn study #39 is one of those lyrical gems that make this collection so enjoyable to practice. Give this your best musical expression! 1
Weissenborn Study #39 /en/lessons/bdp147/#chapter-0-34-02 Weissenborn was inspired to add several musical terms to the study such as dolcissimo (as sweetly as possible), sonoro (resonant), and espressivo (very expressive). All of these terms indicate to me that the music needs to be played with great sensitivity and expression. 2
Weissenborn Study #39 /en/lessons/bdp147/#chapter-0-58-03 I interpret the "rf" in line 8 to be in the context of pianissimo not fortissimo. I gave a careful justification for the meaning of rf in the prior videos. If you need to review the meaning of "rf" please see study #35. 3
Weissenborn Study #39 /en/lessons/bdp147/#chapter-0-58-04 ------------------------------------------------------------------------ # REFLECTION 4
Weissenborn Study #39 /en/lessons/bdp147/#chapter-1-20-05 In a prior video "Music in Motion" (BDP #100) I presented the use of dynamics, vibrato, and rubato as a means of expressing movement in music. I encourage you to view that video as well. http://www.2reed.net/bdp/home.html#bdp100 5
Weissenborn Study #39 /en/lessons/bdp147/#chapter-1-38-06 In this reflection I will further discuss the use of rubato to convey motion to and arrival at musical goals. 6
Weissenborn Study #39 /en/lessons/bdp147/#chapter-1-50-07 I am sure that many, if not all of you, have been on a roller coaster. Remember the feel of the ride when you are on the top and start moving towards the bottom? The motion starts out slowly and then accelerates as you reach the bottom. The motion is a smooth movement from slower to faster speeds. Once the bottom is reached then an upward slope slows your motion. 7
Weissenborn Study #39 /en/lessons/bdp147/#chapter-2-16-08 A well-played musical phrase with rubato functions in much the same manner. Motion towards the goal is faster and faster while motion away from the goal slows down gradually. There are not sudden jerks or stops with the motion. The motion is continuous and progresses smoothly. 8
Weissenborn Study #39 /en/lessons/bdp147/#chapter-2-42-09 Let's practice these roller coaster moments, rubato drives, in the first eight measures. I will be exaggerating the motion now for our practice session. This also makes it easier for you to hear. When you perform it, you won't give the listener such a wild ride! 9
Weissenborn Study #39 /en/lessons/bdp147/#chapter-3-03-10 I will tongue eighth notes so that you can hear the motion during sustained notes and rests. This time I will make two measure phrases. The arrows with points to the right of the curves indicate motion to the goals. The arrows with points to the left of the curve indicate motion away from the goals. 10
Weissenborn Study #39 /en/lessons/bdp147/#chapter-3-29-11 Example mm. 1-8. Two measure phrases--tongued 11
Weissenborn Study #39 /en/lessons/bdp147/#chapter-3-57-12 Let me try something more complex now and give more importance to the downbeat of the fourth measure and the downbeat of the eighth measure. 12
Weissenborn Study #39 /en/lessons/bdp147/#chapter-4-29-13 Example mm. 1-8. Four measure phrases--tongued 13
Weissenborn Study #39 /en/lessons/bdp147/#chapter-4-39-14 Can you hear the motion? By means of rubato and dynamics I created intermediate goals on the downbeats of the 2nd and 6th measures. But the biggest goals were presented on the downbeats of the 4th and 8th measures. Let me play it now without the tonguing, but I will hear the pulses in my mind when I play it. Example mm. 1-8. Four measure phrases---not tongued 14
Weissenborn Study #39 /en/lessons/bdp147/#chapter-4-39-15 Now let's try the real roller coaster ride in the study! Line 5 can be played in a cadenza like manner. Let's try that. I will consider the first long note (A4) to be similar to a fermata and then the motion moves to the first dotted quarter note, up a slight incline and then descending to the appoggiatura we studied at the end of the last video for Weissenborn #38. I will tongue the sustained notes so that so you can hear the subdivisions. Example line 5 as cadenza. Play to the end. 15
Weissenborn Study #39 /en/lessons/bdp147/#chapter-4-39-16 Well, clearly I over did it there! But that sure was fun. I am celebrating that wild ride by wearing this flashy tie! You need to practice your rubato by overdoing it at times to find the limits and understand how to use this tool for phrasing. Notice that the contour of the rubato must be maintained through sustained notes. You must subdivide to do this. Precision is needed for effective rubatos. Musicality can be improved and brought to a standard of excellence with careful attention. Be sure to include rubato practice in your practice sessions. ------------------------------------------------------------------------ 16
Weissenborn Study #40 /en/lessons/bdp148/ Weissenborn Study #40 Weissenborn Opus 8/2, Study #40 for advanced bassoon Weissenborn Opus 8/2, Study #40 for advanced bassoon students. Three aspects to practice. The inner game. Guest performer Vincent Igusa. By Terry B. Ewell, Bassoon Digital Professor. BDP #148. 0
Weissenborn Study #40 /en/lessons/bdp148/#chapter-0-15-01 Welcome, this is Terry Ewell. Weissenborn gave the key of C# major for this study in his original collection of 60 studies. Perhaps the key signature was changed because there is no other study in Db major in the present collection of 50. 1
Weissenborn Study #40 /en/lessons/bdp148/#chapter-0-37-02 There are three aspects of study #40 I want you to notice. We have dealt with all of these aspects in prior studies, so this will reinforce what you have already learned. 2
Weissenborn Study #40 /en/lessons/bdp148/#chapter-0-54-03 The transitions from divisions of three to four in the first line are made all the more difficult with the eighth note on the down beat. I suggest you practice this with a metronome in these ways. First tongue on a monotone the divisions of threes and fours. 3
Weissenborn Study #40 /en/lessons/bdp148/#chapter-1-35-04 Then tongue the rhythm as printed on a single tone. Now practice the passage as printed. 4
Weissenborn Study #40 /en/lessons/bdp148/#chapter-2-05-05 Slurred notes often sound louder than tongued notes. If anything, you need to give more air to the tongued notes. 5
Weissenborn Study #40 /en/lessons/bdp148/#chapter-2-14-06 Don't play like this: (Example with accented slurred notes---2 measures Instead keep the dynamic even.) 6
Weissenborn Study #40 /en/lessons/bdp148/#chapter-2-27-07 Instead keep the dynamic even. (Example no accents --2 measures) 7
Weissenborn Study #40 /en/lessons/bdp148/#chapter-2-38-08 In line 6, measure 2 the notes are difficult to perform. Put to use rhythms and sprints here. If you need to review these principles please look at the earlier videos in this series. 8
Weissenborn Study #40 /en/lessons/bdp148/#chapter-2-53-09 The breath indicated in the study by Weissenborn is rare! He gives only two breath marks in all of the studies and this is the first one. It indicates not only a place to breathe but also the start of new musical material. ------------------------------------------------------------------------ # REFLECTION 9
Weissenborn Study #40 /en/lessons/bdp148/#chapter-3-07-10 ...there are a whole set of inner problems that we also face and which directly affect our outer performance...As we turn to examine the inner world, with its teeming doubts and hopes and expectations, we need to know just what is going on inside us. Barry Green, The Inner Game of Music (New York: Doubleday, 1986), pp. 11-12. 10
Weissenborn Study #40 /en/lessons/bdp148/#chapter-3-34-11 As a musician you are probably figuring out that music is more than just physical sound, it is something internal. Music moves our emotions and stirs our inner life. It is out of this inner life that musicians bring forth their music. 11
Weissenborn Study #40 /en/lessons/bdp148/#chapter-3-49-12 Barry Green with co-author W. Timothy Gallwey both recognize that there is an important connection between the "inner game" and the "outer game." Timothy Gallwey in his well-known book The Inner Game of Tennis presents this relationship with practical approaches to tennis playing skills. 12
Weissenborn Study #40 /en/lessons/bdp148/#chapter-4-13-13 Turmoil in your inner life will bring forth turmoil in your outer life. Peace in your inner life will bring forth peace in your outer life. Your inner life determines the course for many aspects of your existence. 13
Weissenborn Study #41 /en/lessons/bdp149/ Weissenborn Study #41 Weissenborn Opus 8/2, Study #41 for advanced bassoon Weissenborn Opus 8/2, Study #41 for advanced bassoon students. Fingerings, monotones, and more practice on phrasing. The most recited verse. By Terry B. Ewell, Bassoon Digital Professor. BDP #149. 0
Weissenborn Study #41 /en/lessons/bdp149/#chapter-0-16-01 Welcome, this is Terry Ewell. I interpret the "con fuoco" marking, "with fire," to indicate that the dotted eighth notes should be separated. This gives the performance more zeal and passion. It then contrasts nicely with the "tranquillo" section that is calmer and slurred. 1
Weissenborn Study #41 /en/lessons/bdp149/#chapter-0-40-02 In the last two lines, "leggermente" means lightly. Don't accent the "tenuto" quarter notes. This is more an indication to hold them to full value rather than to stress the notes. 2
Weissenborn Study #41 /en/lessons/bdp149/#chapter-0-57-03 Throughout the movement I make use of the alternative Gb3 fingering when approached by or going to Bb3. I also make use of the left hand only Db4 and Eb3 fingerings. These are not marked in the music because you should be familiar with these fingerings now and when to use them. 3
Weissenborn Study #41 /en/lessons/bdp149/#chapter-1-19-04 I also add the C# resonance key to stabilize and help the intonation with Bb3 at the "Fine." 4
Weissenborn Study #41 /en/lessons/bdp149/#chapter-1-27-05 I use the alternate fingering for Gb4 in line 3 measure 4. This fingering works much better for the slur from Bb4. This is the same fingering I use in the second solo passage in the Rite of Spring. 5
Weissenborn Study #41 /en/lessons/bdp149/#chapter-1-44-06 In my videos on the Rite of Spring (BDP #92-94) I discuss this passage and other aspects for practicing the work. http://www.2reed.net/bdp/home.html#bdp92 6
Weissenborn Study #41 /en/lessons/bdp149/#chapter-1-56-07 Now let's work on phrasing. In line 10 I challenge you to practice phrasing the first four measures in three different ways. This will help you to better understand the subtle roles of dynamics and rubato with phrase shapes. 7
Weissenborn Study #41 /en/lessons/bdp149/#chapter-2-15-08 First shape the four measures in separate one measure phrases. Do this both on a monotone and as written. The arrows point to the musical goals, so these phrases start with climaxes and are shaped away from them. 8
Weissenborn Study #41 /en/lessons/bdp149/#chapter-2-15-09 ------------------------------------------------------------------------ # REFLECTION 9
Weissenborn Study #41 /en/lessons/bdp149/#chapter-5-23-10 What is the most recited verse in the entire Bible? If you said, "John 3:16" you might be partially correct. That is perhaps the most translated verse in all of human history. It appears in more languages than any other portion of literature. However, my question was about which verse is the most recited. 10
Weissenborn Study #41 /en/lessons/bdp149/#chapter-5-55-11 For centuries Jews and even the first Christians recited the "Sh'ma Yisrael," ( יִשְׂרָאֵל שְׁמַע) translated as "Hear, O Israel." A portion of this is found in Deuteronomy 6:4-5. For centuries believers have recited these words at least two times a day: 11
Weissenborn Study #41 /en/lessons/bdp149/#chapter-6-18-12 Hear, O Israel, the LORD our God, the LORD is one. You shall love the LORD your God with all your heart, with all your soul, and with all your strength. (NKJV, Deuteronomy 6:4-5) 12
Weissenborn Study #41 /en/lessons/bdp149/#chapter-6-33-13 Jesus was asked by a legal authority, "What is the greatest commandment of all?" He answered with a portion of the Sh'ma Yisrael, but made one change. He replied: 13
Weissenborn Study #41 /en/lessons/bdp149/#chapter-6-50-14 'You shall love the LORD your God with all your heart, with all your soul, with all your strength, and with all your mind... (NKJV, Luke 10:27) 14
Weissenborn Study #41 /en/lessons/bdp149/#chapter-6-58-15 I find the addition of the portion "with all your mind" very interesting. There is no question that Jesus was a brilliant man. But the addition of this portion is not just for the smartest people. Jesus is indicating that God desires devotion and love from every portion of our being. He wants all of you: your emotions, your actions, and your thoughts. 15
Weissenborn Study #42 /en/lessons/bdp150/ Weissenborn Study #42 Weissenborn Opus 8/2, Study #42 for advanced bassoon Weissenborn Opus 8/2, Study #42 for advanced bassoon students. A few performance suggestions. The golden rule. By Terry B. Ewell, Bassoon Digital Professor. BDP #150. 0
Weissenborn Study #42 /en/lessons/bdp150/#chapter-0-18-01 Welcome, this is Terry Ewell. There is a reason that bassoon concertos are not written in B major! It is very difficult to achieve smooth connections and facile fingerings in this key. You will need to apply the practice tools provided in the earlier videos to achieve even fingerings in this study. Make good use of rhythms and sprints! 1
Weissenborn Study #42 /en/lessons/bdp150/#chapter-0-45-02 Make a four measure phrase in line one, not two measure phrases. 2
Weissenborn Study #42 /en/lessons/bdp150/#chapter-0-51-03 Don't play like this: 3
Weissenborn Study #42 /en/lessons/bdp150/#chapter-1-04-04 Instead play like this: 4
Weissenborn Study #42 /en/lessons/bdp150/#chapter-1-17-05 In line 3 flick the C# key to aid the slur to D#4. 5
Weissenborn Study #42 /en/lessons/bdp150/#chapter-1-23-06 In line 6 use the half hole and whisper (or piano) key to help with the slur to G#4. 6
Weissenborn Study #42 /en/lessons/bdp150/#chapter-1-32-07 Be careful to perform the F double sharp throughout the whole measure in line 7. 7
Weissenborn Study #42 /en/lessons/bdp150/#chapter-1-39-08 The second and last breath provided by Weissenborn in the studies appears in line 7, measure 3. This indicates to me that he wishes the performer to play from the fermata in line 5 up to the breath mark without an additional breath. In addition, the performer should not breathe again until the next fermata in line 8. ------------------------------------------------------------------------ # REFLECTION 8
Weissenborn Study #42 /en/lessons/bdp150/#chapter-2-04-09 "And the second is like it: 'You shall love your neighbor as yourself.' (NKJV, Matthew 22: 39). 9
Weissenborn Study #42 /en/lessons/bdp150/#chapter-2-11-10 In the prior reflection we examined the first commandment given by Jesus. Here is the second commandment. 10
Weissenborn Study #42 /en/lessons/bdp150/#chapter-2-15-11 This is commonly called the "golden rule," and it beautifully sums up how we should relate to other people. 11
Weissenborn Study #42 /en/lessons/bdp150/#chapter-2-26-12 There really are two parts to this commandment. You can't love others if you hate yourself. So loving others must begin with caring for all aspects of your own life. Out of that self-care then can come compassion and care for others. 12
Weissenborn Study #43 /en/lessons/bdp151/ Weissenborn Study #43 Weissenborn Opus 8/2, Study #43 for advanced bassoon YWeissenborn Opus 8/2, Study #43 for advanced bassoon students. Phrasing with varied articulations. Quotation from Beethoven's Heiligenstadt Testament. By Terry B. Ewell, Bassoon Digital Professor. BDP #151. 0
Weissenborn Study #43 /en/lessons/bdp151/#chapter-0-19-01 Welcome, this is Terry Ewell. Many editions of this study miss the important note that Weissenborn gives to the student. The original text to this study explains Weissenborn's inspiration: 1
Weissenborn Study #43 /en/lessons/bdp151/#chapter-0-36-02 "Study based on the main motive of the 2nd movement of Beethoven's 4th Symphony. A rhythmical tongue and a sensitive ear are needed above all to play this well." (Universal Bassoon Edition #18122, Study #49) 2
Weissenborn Study #43 /en/lessons/bdp151/#chapter-0-51-03 Before we examine the study, let's first consider the excerpt. 3
Weissenborn Study #43 /en/lessons/bdp151/#chapter-1-17-04 Line 7 of the study is not identical to the excerpt, but you can clearly see Weissenborn's imitation of that portion of the bassoon solo although not all of the notes sound the same. 4
Weissenborn Study #43 /en/lessons/bdp151/#chapter-1-42-05 This study is quite demanding for the reasons stated by Weissenborn. The student is required to keep the rhythm precise, the tempo steady, and to maintain a "sensitive ear." 5
Weissenborn Study #43 /en/lessons/bdp151/#chapter-1-56-06 Lines 9 and 10 provide an opportunity to practice phrase shaping during articulated notes and rests. Mastering the exercises I give to you below will really help you to gain control over your articulation. 6
Weissenborn Study #43 /en/lessons/bdp151/#chapter-2-12-07 First let's practice the section with different articulations. Also use a metronome. I use the tempo 84 for the eighth note. 7
Weissenborn Study #43 /en/lessons/bdp151/#chapter-2-29-08 First all slurred. 8
Weissenborn Study #43 /en/lessons/bdp151/#chapter-2-38-09 I suggest practicing it slurred several times so you can really sense the phrasing you are making with your air. When you achieve a phrasing you like, you will need to keep this regardless of what the tongue does. 9
Weissenborn Study #43 /en/lessons/bdp151/#chapter-2-52-10 The 32nd note is very relatively fast so I don't think I can distinguish five different articulations on that note. I should be able to make three different articulations, however: legato tonguing (5), medium (3), and staccatissimo (1). Just for our practice here I will keep the 16th note with legato tonguing and vary just the 32nd note. First I will do it on a single tone and then as written. 10
Weissenborn Study #43 /en/lessons/bdp151/#chapter-3-29-11 Voice over. Let's take a visual look at the sound waves I produced. I created a short audio clip from the video and then I have lined up the graphics of the sound waves in a software called "Reaper." The top channel is length 5, the next channel is length 3, and the last channel is length 1. 11
Weissenborn Study #43 /en/lessons/bdp151/#chapter-5-02-12 Visual observation shows some inconsistencies with the length of the 32nds and especially the timing of the notes. Boxes number 1, 4, and 5 are pretty good. The notes show the correct lengths and generally start at the right time. Boxes 2 and 3, however, show timing problems especially with note length 5. I am also not quite as pleased with the note lengths. 12
Weissenborn Study #43 /en/lessons/bdp151/#chapter-5-34-13 Remember that the starts to each note should occur with the same timing. It is only the duration of the 32nd note that is varied here. 13
Weissenborn Study #43 /en/lessons/bdp151/#chapter-5-46-14 Now let's practice by varying the length of the 16th note from 5 to 1, with all of the articulations. I will keep the 32nd note at number 5. 14
Weissenborn Study #43 /en/lessons/bdp151/#chapter-5-58-15 It is a real challenge to keep the phrase shape the same and change the articulations. 15
Weissenborn Study #43 /en/lessons/bdp151/#chapter-8-10-16 Again we are looking at a representation of the sound waves in the Digital Audio Workstation called Reaper. The channels are arranged from length 5 at the top to length 1 at the bottom. You can see that I have excellent control over the note lengths. With few exceptions there are clear differences between the lengths of the 16th notes in boxes 1-3 and the following sound waves. However, there are inconsistencies with my timing of the notes. This is something I need to work on more! 16
Weissenborn Study #43 /en/lessons/bdp151/#chapter-8-45-17 When you have mastered those articulations, "mix and match" the notes. For instance, try playing "5" on the 16th notes and "1" on the 32nds. Or "2" on the 16th notes and "5" on the 32nds. Gaining this command of your articulation will open up a whole new world of musical expression for you! ------------------------------------------------------------------------ # REFLECTION 17
Weissenborn Study #43 /en/lessons/bdp151/#chapter-9-10-18 "Almighty God, you look down into my innermost soul, you see into my heart and you know that it is filled with love for humanity and a desire to do good." QUOTATION Maynard Solomon, Beethoven Essays, (London: Harvard University Press, 1988), p. 218. 18
Weissenborn Study #43 /en/lessons/bdp151/#chapter-9-25-19 We don't know the suicide rate for those living in the 1800s in Europe, but Beethoven was certainly a candidate for an early death. His own writings detail his despair with life due to his loss of hearing. The document named Heiligenstadt Testament indicates the severity of his despair and his thoughts about giving up on living. The quote I read at the beginning of this reflection is taken from the Heiligenstadt Testament. This is Beethoven's prayer to God. 19
Weissenborn Study #43 /en/lessons/bdp151/#chapter-10-02-20 Beethoven's faith in God played an important role in helping him through this difficult time. Despite his torment and problems, Beethoven had much beautiful music yet to give to the world. Perhaps you are going through difficulties now. My prayer for you is that God will help you through those problems so that you can provide others with many blessings from your talents. ------------------------------------------------------------------------ # PERFORMANCE 10:02 20
Weissenborn Study #43 /en/lessons/bdp151/#chapter-10-32-21 I regret that I am not able to supply you with a performance of this study. Upon listening to my recording I realize that I slipped into a very common error: performing with a triplet rhythm rather than the divisions of four required. 10:32 21
Weissenborn Study #43 /en/lessons/bdp151/#chapter-10-50-22 I will perform for you here portions of the study, but regrettably the recording will not be to same standards as those performed in the Towson University Recital Hall. ------------------------------------------------------------------------ 10:50 22
Weissenborn Study #44 /en/lessons/bdp152/ Weissenborn Study #44 Weissenborn Opus 8/2, Study #44 for advanced bassoon Weissenborn Opus 8/2, Study #44 for advanced bassoon students. Comments on theme and variation. Guest performer Andrew Delclos. By Terry B. Ewell, Bassoon Digital Professor. BDP #152. 0
Weissenborn Study #44 /en/lessons/bdp152/#chapter-0-18-01 Welcome, this is Terry Ewell. 1
Weissenborn Study #44 /en/lessons/bdp152/#chapter-0-20-02 This study is so lengthy that I will keep the tutorial and reflection in this video quite short. 2
Weissenborn Study #44 /en/lessons/bdp152/#chapter-0-28-03 In Variation II the two trills are fingered like this: 3
Weissenborn Study #44 /en/lessons/bdp152/#chapter-0-37-04 I suggest that you make the accents in this study by means of lengthening the notes rather than giving more air on the notes. Please see my more detailed discussion of agogic accents in Weissenborn study #23, BDP #131. 4
Weissenborn Study #44 /en/lessons/bdp152/#chapter-0-58-05 In Variation III the Bb3 to C4 trill is played like this: 5
Weissenborn Study #44 /en/lessons/bdp152/#chapter-1-05-06 Variation IV is in Gb minor. When I perform a minor key variation placed in the middle of a major key composition I change the tempo of performance and the timbre of my sound. 6
Weissenborn Study #44 /en/lessons/bdp152/#chapter-1-19-07 I suggest you perform this variation slightly slower. Return to the faster tempo at the Coda. 7
Weissenborn Study #44 /en/lessons/bdp152/#chapter-1-25-08 Also dampen the reed to gain a darker sound as well. Moving your embouchure from 2A to 2B or 2B to 2C will help achieve this result. 8
Weissenborn Study #44 /en/lessons/bdp152/#chapter-1-33-09 I discussed changes in embouchure in the reflection portion of Weissenborn Study #34 in this series. God willing I will further discuss changes in embouchure in Weissenborn Study #50. ------------------------------------------------------------------------ # REFLECTION 9
Weissenborn Study #44 /en/lessons/bdp152/#chapter-1-58-10 This study is a theme and variation. Have you thought about how the concept of theme and variation applies to your life? What is the core of your life, what are the things you absolutely won't alter? What is it that defines your character? 10
Weissenborn Study #44 /en/lessons/bdp152/#chapter-2-17-11 What is the theme to your life? What are the things that you will vary? What are the things you can do to enhance those life values? 11
Weissenborn Study #44 /en/lessons/bdp152/#chapter-2-28-12 Many people write out a mission statement to provide better direction to their lives. What would your mission statement be? 12
Weissenborn Study #44 /en/lessons/bdp152/#chapter-2-38-13 Let me leave you with another analogy. Heinrich Schenker studied the music of Beethoven and other German composers from the Common Practice Period. His theory included the idea that great composers made use of a limited number of background lines and then "composed out," elaborated, or created the composition we hear. Your life theme or mission statement is thus the foundation upon which you build the details of your life. 13
Weissenborn Study #45 /en/lessons/bdp153/ Weissenborn Study #45 Weissenborn Opus 8/2, Study #45 for advanced bassoon Weissenborn Opus 8/2, Study #45 for advanced bassoon students. Practice methods from Norman Herzberg and Frank Morelli. Faith makes a difference. By Terry B. Ewell, Bassoon Digital Professor. BDP #153. 0
Weissenborn Study #45 /en/lessons/bdp153/#chapter-0-19-01 Welcome, this is Terry Ewell. Weissenborn study #45 is another expressive delight in this collection. In the video on Weissenborn study #39 (BDP #147) I presented ways in which music can be shaped to create goals. Please review this video if you haven't seen it yet. To express phrasing you need to alter your dynamics, vibrato, and rubato. Using divisions of the beat to shape rubato is especially vital for this study. 1
Weissenborn Study #45 /en/lessons/bdp153/#chapter-0-58-02 The rhythms in the last measure of line 3 require special attention. It is very important that you keep up the eighth-note divisions in order to properly perform the measure. Let's practice this slowly by setting the metronome to eighth notes values. 2
Weissenborn Study #45 /en/lessons/bdp153/#chapter-1-34-03 I use an alternate fingering for Eb3 in this measure. It is the trill fingering. 3
Weissenborn Study #45 /en/lessons/bdp153/#chapter-1-45-04 Have you heard of a hemiola? The third to last measure sets up pairs of eighth notes which imposed a meter with divisions of two instead of the divisions of three. This is a great example of a hemiola. 4
Weissenborn Study #45 /en/lessons/bdp153/#chapter-2-02-05 Be sure to hold the last note to the end. Don't end the note too early. 5
Weissenborn Study #45 /en/lessons/bdp153/#chapter-2-10-06 This is a great study in which to employ other practice methods. Norman Herzberg presented to me years ago a method of practice which is a reduction of the fine collection of studies written by Simon Kovar. You can pick any three, four, or more notes for practicing in this way. 6
Weissenborn Study #45 /en/lessons/bdp153/#chapter-2-32-07 Let's take the three notes at the end of the second complete measure. 7
Weissenborn Study #45 /en/lessons/bdp153/#chapter-2-36-08 Practice these three notes in various patterns at different speeds. 8
Weissenborn Study #45 /en/lessons/bdp153/#chapter-3-20-09 It is especially important to match the timbre or sound quality of adjacent notes. I am grateful to Frank Morelli for this practice suggestion. Let's take the same three notes and concentrate on timbre and smooth connections. I find that the connection between Ab3 and Bb3 is especially difficult. There needs to be precise and swift movements of the fingers to minimize the break between the notes. 9
Weissenborn Study #45 /en/lessons/bdp153/#chapter-4-21-10 For instance, I find the pitch of Bb to be lower than Ab (when compared to equal temperament). So I need to make an adjustment for these notes to be in tune. Also Bb is a note with less resonance so I also need to adjust for greater resonance. 10
Weissenborn Study #45 /en/lessons/bdp153/#chapter-4-50-11 I've mentioned in prior videos that you can adjust timbre by means of the embouchure position on the reed. This is not something to do here! You don't have time to move the reed inside and out of your mouth on adjacent notes, particularly at faster speeds. Instead, there will be pitch and timbre adjustments made with the tongue position. This is also known as voicing or vowels. Shifting the embouchure on the reed is something you do for a section of music. Please see examples in the video on Weissenborn Study #50, part A, BDP #158. 11
Weissenborn Study #45 /en/lessons/bdp153/#chapter-5-35-12 Drawing your attention to problems of timbre is an important first step to addressing the issue. In addition to vowel adjustments, you might also need to make adjustments to your reeds to better match the timbre of notes. Don't get too discouraged at first. This will take years of progress and dedication on your part. ------------------------------------------------------------------------ # REFLECTION 12
Weissenborn Study #45 /en/lessons/bdp153/#chapter-5-59-13 ...that you may know that the LORD does make a difference between the Egyptians and Israel." (NKJV, Exodus 11:7) But without faith it is impossible to please Him, for he who comes to God must believe that He is, and that He is a rewarder of those who diligently seek Him. (NKJV, Hebrews 11:6) My wife and I have faced a few difficulties in life. While living our first married years in Hong Kong our mortgage interest rate moved to over 20%. Our payments were not capped, so we had to cover this amount. Birth tests for our second child indicated that he might be born with a birth defect. We viewed his healthy birth as a gift from God. More recently my wife and I have both had various health issues. I am thankful that God makes a difference. He has listened to our needs and heard our prayers during our times of trouble. You have heard me speak in these videos about the difference that God has made in my life. In the videos on Weissenborn 36 and 37 (BDP #144-145), I mentioned the transformation that occurred for me as a person and a musician. I think that God can make a difference in your life as well. 13
Weissenborn Study #46 /en/lessons/bdp154/ Weissenborn Study #46 Weissenborn Opus 8/2, Study #46 for advanced bassoon Weissenborn Opus 8/2, Study #46 for advanced bassoon students. The importance of subdivisions in this study and in Ravel's Bolero. Correlating tools for practicing with tools for life development. By Terry B. Ewell, Bassoon Digital Professor. BDP #154. 0
Weissenborn Study #46 /en/lessons/bdp154/#chapter-0-20-01 Welcome this is Terry Ewell. With the exception of the unusual key signature, many aspects of Study #46 simply review techniques addressed before in our series. I will just address a few particulars here. 1
Weissenborn Study #46 /en/lessons/bdp154/#chapter-0-34-02 Rushing the quarter notes is the most common error in Weissenborn study #46. Continuing the 16th note subdivisions in your mind is vital for rhythmic accuracy in this study. 2
Weissenborn Study #46 /en/lessons/bdp154/#chapter-0-48-03 The sixteenth note subdivisions remind me of the subdivisions needed for the successful performance of Ravel's Bolero. If you are interested in practicing this excerpt, please see BDP# 95-96: http://www.2reed.net/bdp/home.html#bdp95 3
Weissenborn Study #46 /en/lessons/bdp154/#chapter-1-09-04 We have seen some of these trills before in the study, but let me give them to you again. Here is the trill in line 2, measure 4. 4
Weissenborn Study #46 /en/lessons/bdp154/#chapter-1-14-05 Here are the trills in line 3. 5
Weissenborn Study #46 /en/lessons/bdp154/#chapter-1-25-06 Of course I use the alternate Gb3 fingering for approaching and coming from Bb3. This has been discussed in a number of the earlier videos in the series so I won't mark the alternate fingering in this video. You should be familiar with this by now. 6
Weissenborn Study #46 /en/lessons/bdp154/#chapter-1-25-07 ------------------------------------------------------------------------ # REFLECTION 7
Weissenborn Study #46 /en/lessons/bdp154/#chapter-1-48-08 In the prior videos on the Weissenborn studies I have introduced many different tools for practicing bassoon and also concepts for performing music. I hope that you are taking my guidance to heart and diligently applying the practice methods. In this series of videos I have sought to bring you the methods I have found most helpful for my musical development. As musicians we understand the value of daily practice. We know that musical changes often don't happen quickly, but come about with determined applications of careful practice. 8
Weissenborn Study #46 /en/lessons/bdp154/#chapter-2-29-09 Likewise there are also tools available that will help you improve your emotional, physical, and spiritual health. Reading, studying, and memorizing portions of the Bible are great tools. Prayer to and faith in God are also indispensable. In addition, joining a group of other followers of Jesus will help you with your lifelong journey. All of these are tools that you can apply daily or weekly to help your emotional, physical, and spiritual health. 9
Weissenborn Study #46 /en/lessons/bdp154/#chapter-3-04-10 However, I don't want to leave you with the impression that changes in life are solely dependent on human efforts. That is not the case! The recognition of God is an acknowledgment that there is a greater power. God can make changes in your life suddenly or slowly. Becoming a follower of Jesus is not simply a self-help journey. It is a step of faith that places you in the hands of the All-mighty God. 10
Weissenborn Study #46 /en/lessons/bdp154/#chapter-3-33-11 Draw near to God and He will draw near to you. (NKJV, James 4:8) 11
Weissenborn Study #46 /en/lessons/bdp154/#chapter-3-41-12 If you are interested in learning more about the first step of faith please see my video on choices. http://www.2reed.net/choice/ ------------------------------------------------------------------------ # PERFORMANCE 12
Weissenborn Study #46 /en/lessons/bdp154/#chapter-3-49-13 It's happened again. The recording I made several months ago is not suitable for presenting here. I apologize for giving you a recording that is not the same sound quality as in the Towson University Recital Hall. Unfortunately at this time at the end of the Spring semester, I don't have access to the hall. I am very anxious to finish this project so I don't want to wait more days for the hall to be available. 13
Weissenborn Study #46 /en/lessons/bdp154/#chapter-4-13-14 I have been practicing this study with eighth note divisions on my metronome at the tempo of 168. It is even more effective, however, to keep 16th note subdivisions going. The higher sampling rate ensures greater rhythmic accuracy! Also I can still use a little rubato in the music with the subdivisions. 14
Weissenborn Study #47 /en/lessons/bdp155/ Weissenborn Study #47 Weissenborn Opus 8/2, Study #47 for advanced bassoon Weissenborn Opus 8/2, Study #47 for advanced bassoon students. Phrase like a thrown baseball (Joseph Robinson). Quote from Your Brain on Music. Guest performer Collin Walter. By Terry B. Ewell, Bassoon Digital Professor. BDP #155. 0
Weissenborn Study #47 /en/lessons/bdp155/#chapter-0-18-01 Welcome, this is Terry Ewell. The first phrases of Weissenborn study #47 give us another crucible in which to refine our expressive abilities. In particular, the quarter notes can halt or distort musical motion if subdivisions are not shaped into a musical line. 1
Weissenborn Study #47 /en/lessons/bdp155/#chapter-0-42-02 Let me first perform this by tonguing each 16th: 2
Weissenborn Study #47 /en/lessons/bdp155/#chapter-1-04-03 Notice that I am continuing the musical motion through the quarter notes. You can only do this with subdivisions. 3
Weissenborn Study #47 /en/lessons/bdp155/#chapter-1-13-04 Let's use another analogy, the toss of a baseball. I am grateful to Joseph Robinson for this analogy. When a baseball is thrown, gravity causes the ball to curve in an arc as it approaches the ground. If we blink while the baseball is in the air, the motion still continues. Over years of practice with throwing baseballs you probably can guess where the baseball will be after you blink. Even though part of the motion is obscured briefly, the trajectory of the ball has already been determined. You understand where it will end up. 4
Weissenborn Study #47 /en/lessons/bdp155/#chapter-1-56-05 Likewise the musical motion continues through the quarter notes even though that motion is not audible. It is similar to blinking when looking at the toss of a baseball. The arch of the musical line should continue and be predictable. 5
Weissenborn Study #47 /en/lessons/bdp155/#chapter-2-14-06 We also find in this study appoggiaturas. I spent considerable time in Weissenborn study #38 (BDP #146) discussing this important ornament and how it is often used for goals in music. Notice the abundance of appoggiaturas in this study! 6
Weissenborn Study #47 /en/lessons/bdp155/#chapter-2-36-07 Not only is each appoggiatura placed on a downbeat, which provides some stress, but they are also approach by quicker notes. Quick notes generally move to longer notes in music, so you should direct the musical motion to the appoggiaturas. ------------------------------------------------------------------------ # REFLECTION 7
Weissenborn Study #47 /en/lessons/bdp155/#chapter-2-56-08 "Two concert tickets can easily cost as much as a week's food allowance for a family of four, and one CD costs about the same as a work shirt, eight loaves of bread, or basic phone service for a month. Understanding why we like music and what draws us to it is a window on the essence of human nature." Daniel J. Levitin, This is Your Brain on Music (London: 2007, Penguin Group), p. 7. 8
Weissenborn Study #47 /en/lessons/bdp155/#chapter-3-23-09 I highly recommend that you read the book by Daniel Levitin titled, This is Your Brain on Music. He provides fascinating insights into how our brains process music. I really appreciate the last portion of the quote I read above. Indeed, it is true that there is something about music that is tied to the essence of human nature. We are privileged as musicians to be a part of this essence every day we live. 9
Weissenborn Study #48 /en/lessons/bdp156/ Weissenborn Study #48 Weissenborn Opus 8/2, Study #48 for advanced bassoon Weissenborn Opus 8/2, Study #48 for advanced bassoon students. Overview of the Bassoon-Family Fingering Companion. Fingerings from the Bassoon-Family Fingering Companion: C#5 and D5. Reflection on the entrance to the Eastern Gate in Jerusalem. Musicians in Heaven. By Terry B. Ewell, Bassoon Digital Professor. BDP #156. 0
Weissenborn Study #48 /en/lessons/bdp156/#chapter-0-16-01 Welcome, this is Terry Ewell. The last three studies in this collection explore the high register of the bassoon. I will devote some comments in each of the following tutorials to the new fingerings introduced in the studies. 1
Weissenborn Study #48 /en/lessons/bdp156/#chapter-0-33-02 Throughout college and my professional life I have been fascinated with all of the different fingerings possible on the bassoon. Some people collect baseball cards, some collect tea cups, but I collect bassoon fingerings! 2
Weissenborn Study #48 /en/lessons/bdp156/#chapter-0-52-03 Several years ago the International Double Reed Society was kind enough to providing funding to help me with the production of an online collection of bassoon fingerings. At that time the online speeds were very slow so even simple graphics didn't move from servers to computers well. To aid with quicker access thus the bulk of this collection is in ASCII characters. My research assistant and I typed in almost every character in the collection. I hope that you will forgive the antiquated look of the database, but once you learn how to read the fingerings, you will have access to the most complete collection of bassoon fingerings available. http://www.idrs.org/resources/BSNFING/FINGHOME.HTM 3
Weissenborn Study #48 /en/lessons/bdp156/#chapter-1-40-04 Let's take a look at the many features of the Bassoon-Family Fingering Companion. In the header you will find a Preface that provides an introduction to the database. 4
Weissenborn Study #48 /en/lessons/bdp156/#chapter-1-53-05 First let's take a look at the ASCII fingering representation. 5
Weissenborn Study #48 /en/lessons/bdp156/#chapter-1-58-06 On that page is a graphic representation that is next to the ASCII coding. The ASCII coding is rotated 90 degrees for ease of typing. "X" indicates a covered hole or key. "O" indicates an open hole or key. 6
Weissenborn Study #48 /en/lessons/bdp156/#chapter-2-15-07 Here is the ASCII fingering representation aligned with the pictorial fingering. The top red line shows the covered top holes in each. The other lines show the C# and whisper keys in each. 7
Weissenborn Study #48 /en/lessons/bdp156/#chapter-2-31-08 Now this is the ASCII representation rotated to appear as it does in the database. Here is a chart with the names of the keys. I encourage you to study the introductory materials more when you have time. 8
Weissenborn Study #48 /en/lessons/bdp156/#chapter-2-47-09 This is an overview of the site with links to portions of the database. 9
Weissenborn Study #48 /en/lessons/bdp156/#chapter-2-54-10 I will start at the bottom and work up. Fingerings for other double reeds, German and French contrabassoon, historical bassoons, French bassoon, etc. are available. The portion of the database that is for the German system bassoon is at the top. There are suggestions for musical passages such as important orchestral solos for bassoon, but unfortunately when this portion migrated to the new IDRS website many of the graphics were lost. 10
Weissenborn Study #48 /en/lessons/bdp156/#chapter-3-29-11 Select the "Fingerings by Note Names" to find a complete collection of fingerings for each note on the bassoon. 11
Weissenborn Study #48 /en/lessons/bdp156/#chapter-3-37-12 Scroll down to the bottom of the page and you will find high note fingerings up to C#6, which is an entire octave above the high note we are presented with in this study. Here is the top portion of the C#5 page. There are nine C#5 fingerings listed on this page. Notice that I credit each contributor and supply the references. 12
Weissenborn Study #48 /en/lessons/bdp156/#chapter-4-03-13 My normal fingering for C#5 is this. Notice that I hold down both the D and C speaker keys. 13
Weissenborn Study #48 /en/lessons/bdp156/#chapter-4-16-14 The addition of either the F or Ab key will increase resonance on C#5. 14
Weissenborn Study #48 /en/lessons/bdp156/#chapter-4-27-15 My normal fingering for D5 is this. 15
Weissenborn Study #48 /en/lessons/bdp156/#chapter-4-31-16 However, there are times when I use the "short" D5 fingering, especially for large slurs. You might find that this fingering works better for you. 16
Weissenborn Study #48 /en/lessons/bdp156/#chapter-4-31-17 ------------------------------------------------------------------------ # REFLECTION 17
Weissenborn Study #48 /en/lessons/bdp156/#chapter-4-44-18 Lift up your heads, O you gates! And be lifted up, you everlasting doors! And the King of glory shall come in. (NKJV, Psalm 24: 7) 18
Weissenborn Study #48 /en/lessons/bdp156/#chapter-4-59-19 Just recently my wife and I visited Israel. From the Mount of Olives we were able to view the Redemption Gate, also called the Eastern or "Golden Gate" entrance to the city of Jerusalem. You will notice that the gate is sealed. It will only be opened again when the Messiah, the redeemer comes. 19
Weissenborn Study #48 /en/lessons/bdp156/#chapter-5-23-20 Believers in Jesus are waiting for His return. He promised to set foot again on the Mount of Olives and then descend to the city of Jerusalem and enter through this gate. 20
Weissenborn Study #48 /en/lessons/bdp156/#chapter-5-37-21 We began this series of videos with reflections on the first garden, the Garden of Eden. Believers are now waiting for the next garden to be placed on earth. It will be a wonderful place, a paradise. This is described in the last book of the Bible, Revelation chapters 21-22. I hope that you will read this! 21
Weissenborn Study #48 /en/lessons/bdp156/#chapter-6-01-22 There will be much music in this new paradise. I close here by reading the last Psalm, which gives us a glimpse of musicians in paradise: 22
Weissenborn Study #48 /en/lessons/bdp156/#chapter-6-14-23 Praise the Lord! Praise God in His sanctuary; Praise Him in His mighty firmament! Praise Him for His mighty acts; Praise Him according to His excellent greatness! Praise Him with the sound of the trumpet; Praise Him with the lute and harp! Praise Him with the timbrel and dance; Praise Him with stringed instruments and flutes! Praise Him with loud cymbals; Praise Him with clashing cymbals! Let everything that has breath praise the Lord. Praise the Lord! (NKJV, Psalm 150) 23
Weissenborn Study #49 /en/lessons/bdp157/ Weissenborn Study #49 Weissenborn Opus 8/2, Study #49 for advanced bassoon Weissenborn Opus 8/2, Study #49 for advanced bassoon students. Fingerings for Eb5. Adjustments to the reed for high register playing on the bassoon. Guest performer Collin Walter. By Terry B. Ewell, Bassoon Digital Professor. BDP#157. 0
Weissenborn Study #49 /en/lessons/bdp157/#chapter-0-19-01 Welcome, this is Terry Ewell. Weissenborn Study #49 expands the range of the instrument to Eb5. This note, however, is a problematic pitch on the German system bassoon. It does not articulate well or respond well to large slurs. 1
Weissenborn Study #49 /en/lessons/bdp157/#chapter-0-38-02 Let me leave you with several fingering possibilities for Eb5. Please be aware that none of them will perform as satisfactorily as fingerings for D5. 2
Weissenborn Study #49 /en/lessons/bdp157/#chapter-0-50-03 You might find it helpful to look at the other suggestions listed in the Bassoon-Family Fingering Companion. http://www.idrs.org/resources/BSNFING/FINGHOME.HTM 3
Weissenborn Study #49 /en/lessons/bdp157/#chapter-0-59-04 Here are fingerings for the trills presented in the study: 4
Weissenborn Study #49 /en/lessons/bdp157/#chapter-1-11-05 I perform the mordents in line 5 with these fingerings: 5
Weissenborn Study #49 /en/lessons/bdp157/#chapter-1-11-06 ------------------------------------------------------------------------ # REFLECTION 6
Weissenborn Study #49 /en/lessons/bdp157/#chapter-1-20-07 Most performers find it helpful to use a reed adjusted for the high register to effectively perform this and the next study. 7
Weissenborn Study #49 /en/lessons/bdp157/#chapter-1-30-08 My videos on reed finishing (BDP# 86-91) present my concepts and suggestions for adjusting bassoon reeds. I encourage you to study them carefully and the companion article "A Pedagogy for Finishing Reeds for the German-System (Heckel-System) Bassoon." A link to the revised paper is available here: http://www.2reed.net/EwellArticles/ReedAdjustingNew.pdf 8
Weissenborn Study #49 /en/lessons/bdp157/#chapter-1-43-09 Full reference: "A Pedagogy for Finishing Reeds for the German-System (Heckel-System) Bassoon," The Double Reed 23/3 (2000): 99-108. 9
Weissenborn Study #49 /en/lessons/bdp157/#chapter-1-55-10 Smaller reeds favor higher pitches. This is why an oboe reed is smaller than a bassoon reed, for instance. Creating a smaller bassoon reed will aid the higher notes. You can shorten the blade by cutting the tip. 10
Weissenborn Study #49 /en/lessons/bdp157/#chapter-2-23-11 The poor man's way to cut the tip is to use scissors. The traditional way to cut the tip is to use a knife and cutting block. Use a different knife than the one you use for scraping, because cutting the reed tip will dull the knife. 11
Weissenborn Study #49 /en/lessons/bdp157/#chapter-2-42-12 You could also narrow the blade. 12
Weissenborn Study #49 /en/lessons/bdp157/#chapter-2-54-13 Also a narrow throat helps the high register. 13
Weissenborn Study #49 /en/lessons/bdp157/#chapter-2-58-14 In addition, rounding the first and second wires provides more tension in the blade and aids with the higher harmonics and the higher notes on the instrument. 14
Weissenborn Study #49 /en/lessons/bdp157/#chapter-3-11-15 A high note reed also features a greater heart to wings ratio and a greater spine to rail ratio. Concepts of these ratios are detailed in my paper. 15
Weissenborn Study #49 /en/lessons/bdp157/#chapter-3-24-16 Depending on the style of your normal bassoon reed, you may not need to make all of the adjustments given above. Just two adjustments may be all that is required for you. 16
Weissenborn Study #50A /en/lessons/bdp158/ Weissenborn Study #50A Weissenborn Opus 8/2, Study #50A for advanced bassoon Weissenborn Opus 8/2, Study #50A for advanced bassoon students. Fingerings for E5, high E. Techniques for performing E5 including modifications to bassoon bocals. References to music with E5 by Ravel, Saint-Saëns, and Tansman are also made. Embouchure adjustments for high register and muted playing. Also special thanks given to Arthur Grossman. By Terry B. Ewell, Bassoon Digital Professor. BDP#158. 0
Weissenborn Study #50A /en/lessons/bdp158/#chapter-0-19-01 Welcome, this is Terry Ewell. Study #50 presents many challenges and opportunities. The virtuosic riffs of scales and arpeggios need to be practiced for smooth fingerings and accurate timing. I prefer to shape the scales by lingering a bit more at the bottom and then moving the scale forward at the top. In slow motion it sounds like this: 1
Weissenborn Study #50A /en/lessons/bdp158/#chapter-1-02-02 The breaths given in lines 1 and 2 and in the last line are quick "catch" breaths. Don't make too much space in the music. 2
Weissenborn Study #50A /en/lessons/bdp158/#chapter-1-12-03 Many of my students have trouble counting out correctly the first measure of line 2. 3
Weissenborn Study #50A /en/lessons/bdp158/#chapter-1-17-04 Be certain to hold the quarter note out for the duration of two eighth notes. The two triplets are notated in a confusing manner. These six notes need to take place in the span of a single eighth note. 4
Weissenborn Study #50A /en/lessons/bdp158/#chapter-1-31-05 Let me play the last measure of the first line and this measure with the metronome. 5
Weissenborn Study #50B /en/lessons/bdp159/ Weissenborn Study #50B Weissenborn Opus 8/2, Study #50B for advanced bassoon Weissenborn Opus 8/2, Study #50B for advanced bassoon students. The final examination and how to obtain a certificate. Performance of Study #50. By Terry B. Ewell, Bassoon Digital Professor. BDP#159. 0
Weissenborn Study #50B /en/lessons/bdp159/#chapter-0-00-01 Well, we have come to the end of our journey together! I find it hard to believe that this project is coming to an end. When I began planning this series well over a year ago, I thought I might produce about 30 videos that summarized the content of the 50 studies. I didn't even dream at the time that I would be providing you with performances of every study, most of which include the entire study. In addition, I have been able to provide many more details in the tutorials and reflections than I thought I would be able to do. Thank you Towson University for the sabbatical that made this possible! 1
Weissenborn Study #50B /en/lessons/bdp159/#chapter-0-46-02 Again I want to thank my students who helped by recording 13 of the studies. Without their assistance I could not have completed this series. 2
Weissenborn Study #50B /en/lessons/bdp159/#chapter-0-56-03 I feel that there must be some way to celebrate your achievement as you are completing the 50 studies. If you have watched the videos to all of the studies and practiced them, I have a special offer for you. 3
Weissenborn Study #50B /en/lessons/bdp159/#chapter-1-10-04 For your final examination send to me a link to your video of one of these assignments: 4
Weissenborn Study #50B /en/lessons/bdp159/#chapter-1-20-05 1) Weissenborn Study #43. The four measure phrase in lines 9 and 10. Provide the three different articulations for the 32nd notes (5, 3, 1) and the five different articulations for the 16th notes (5, 4, 3, 2, 1). See my video (BDP# 151) for a further explanation. 5
Weissenborn Study #50B /en/lessons/bdp159/#chapter-1-49-06 Or 2) Weissenborn Study #50. 6
Weissenborn Study #50B /en/lessons/bdp159/#chapter-1-58-07 Please don't send the actual video by email attachment because they are too large for email. The video can be posted on YouTube, Jing, or another site and then the link forwarded to me. Here are links to information on uploading videos to YouTube and Jing. https://www.youtube.com/watch?v=\_O7iUiftbKU http://www.techsmith.com/jing-features.html 7
Weissenborn Study #50B /en/lessons/bdp159/#chapter-2-19-08 You can also use high tail (formerly known as yousendit.com) as a means of forwarding your video to me. 8
Weissenborn Study #50B /en/lessons/bdp159/#chapter-2-29-09 Upon my review of your video I will send to you a certificate of completion for the course of study. 9
Weissenborn Study #50B /en/lessons/bdp159/#chapter-2-35-10 Currently my email is at Towson University. 10
Weissenborn Study #50B /en/lessons/bdp159/#chapter-2-44-11 In your email message to me provide the following text: 11
Weissenborn Study #50B /en/lessons/bdp159/#chapter-2-48-12 Dear Dr. Ewell, 12
Weissenborn Study #50B /en/lessons/bdp159/#chapter-2-49-13 I have completed viewing your video series on the Weissenborn Bassoon Studies, Opus 8/2. I have also completed the final examination. Here is the link to my video for you to review: 13
Weissenborn Study #50B /en/lessons/bdp159/#chapter-3-02-14 (provide link) Please send to me the certificate by: 14
Weissenborn Study #50B /en/lessons/bdp159/#chapter-3-04-15 \_\_\_ email attachment or \_\_\_\_ by mail. 15
Weissenborn Study #50B /en/lessons/bdp159/#chapter-3-09-16 ...(additional comments by you). 16
Weissenborn Study #50B /en/lessons/bdp159/#chapter-3-10-17 If you want me to mail to you a certificate, please provide me with your email or mailing address. Please also include your full name for the certificate. 17
Weissenborn Study #50B /en/lessons/bdp159/#chapter-3-21-18 I hope that your studies on bassoon and your progress in life are going well. It has been a joy for me to share these videos with you. God bless you. ------------------------------------------------------------------------ 18
Multiple Tonguing 1 /en/lessons/bdp18/ Multiple Tonguing 1 Introduction to double tonguing on double reed instruments. Examination of movements of the tongue in the mouth. By Terry B. Ewell. Bassoon Digital Professor video #18. www.2reed.net. Introduction to double tonguing on double reed instruments. Examination of movements of the tongue in the mouth. By Terry B. Ewell. Bassoon Digital Professor video #18. www.2reed.net. 0
Multiple Tonguing 1 /en/lessons/bdp18/#chapter-00-00 [music: Vivaldi, E minor Concert, I] Well, this is the first in a series of videos dealing with multiple tonguing techniques. Multiple tonguing techniques include double tonguing, triple tonguing, and mixed (or combination) tonguing. 00:00 1
Multiple Tonguing 1 /en/lessons/bdp18/#chapter-00-35 Although double tonguing has been used as a technique by wind performers for centuries—there are earlier recorder manuals that discuss double tonguing, flutists also used double tonguing for centuries as well as brass performers—but double reed instrumentalists have found double tonguing much less common. 00:35 2
Multiple Tonguing 1 /en/lessons/bdp18/#chapter-00-58 Quantz does mention that double tonguing is used on the bassoon but surprisingly not on the oboe. Quantz was a Baroque flutist who also wrote about other woodwind instruments. But you find the 20th century that double tonguing was not commonly used among double reed instrumentalists. 00:58 3
Multiple Tonguing 1 /en/lessons/bdp18/#chapter-01-18 For instance, these well-known players did not support double tonguing: Evelyn Rothwell, Sherman Walt, Archie Camden, and William Spencer among others. You will notice that the references for these authors come from the 50s and 60s when double tonguing was still yet to be widely adopted. 01:18 4
Multiple Tonguing 1 /en/lessons/bdp18/#chapter-01-43 However, when we move into the 70s and 80s and into the 21st century, you will see that many performers are using double tonguing. James Prodan in his work from the 1979 notes that half of the oboists surveyed employ double tonguing. Marc Apfelstadt and Ron Klimko found in their survey of bassoon performers that well over half of the bassoonists employed double tonguing. So it is a widely excepted technique now by double reed players. 01:43 5
Multiple Tonguing 1 /en/lessons/bdp18/#chapter-02-18 Now, there are different consonants used with double tonguing. “T,” “D,” or “L,” which are consonants in the front of the mouth, alveolar consonants, are employed with single tonguing or where the tongue contacts the reed. The “K,” “G,” or “Q,” the velar consonants, are towards the back of the tongue, it is actually the middle third of the tongue but it is the back of the upper oral cavity, the roof of the mouth, the soft palate in the mouth, use those particular syllables. 02:18 6
Multiple Tonguing 1 /en/lessons/bdp18/#chapter-02-59 Here we see the front of the tongue being used to articulate an oboe reed. This would be “T,” “D,” or “L” consonant. The consonant in the back of the mouth here is a “G” further back. The “K” is just underneath the soft palate. My goal for double tonguing is to try to get the point of contact as far forward in the mouth under the hard part of the roof of the mouth here. It is quite important when double tonguing to learn to minimize the motion. 02:59 7
Multiple Tonguing 1 /en/lessons/bdp18/#chapter-03-32 Moving back and forth from the “T” consonant to the “K” consonant. You can see that it becomes a rocking motion back and forth for the double tongue. 03:32 8
Multiple Tonguing 1 /en/lessons/bdp18/#chapter-03-53 I have to note that the bassoonists have a different tongue position than oboists. The reed projects further into the mouth meaning that the tongue position will have to be a little bit lower. Often this means that the reed contacts the tongue a little further back from the tip. The oboists may have it very much right at the tip, the bassoonists will have a further back than the tip. This different tongue will require an adjustment for a different back consonant for the double tongue. 03:53 9
Multiple Tonguing 1 /en/lessons/bdp18/#chapter-04-30 Now, I prefer to use the consonants as a way to talk about double tonguing but there are many authors that have vowels that are added to the consonants. For instance, “Ta” or “To” (tow), “Tee,” “Ti.” I find that the vowels will actually change by instrument, register, and performer. So, it is best to think of the double tonguing with consonants and then you will adjust your vowels depending upon your personal choices. 04:30 10
Multiple Tonguing 1 /en/lessons/bdp18/#chapter-05-10 The oboe (performer), for instance, has in general a higher tongue position than the bassoon (performer). Therefore, the performers need to make adjustments (with the vowels). Walter Carr, for instance, documents this in his work, which I have listed here. The oboe (player) needs to have less oral cavity space than the bassoon player. The next video will present practice methods for double tonguing. 05:10 11
Multiple Tonguing 1 /en/lessons/bdp18/#chapter-05-35 I hope that you preview that. 05:35 12
Chinese Calligraphy, Painting, and Music Performance /en/lessons/bdp183/ Chinese Calligraphy, Painting, and Music Performance 中国书画与音乐表演的相似之处。Chinese calligraphy and painting are similar to Art Music performance. 巴松管数码教授＃183。Bassoon Digital Professor #183. 译：朱潇潇. Text by Terry B. Ewell, for a Chinese class. Translation aided by XiaoXiao Zhu. www.2reed.net/Chinese.html. 中国书画与音乐表演的相似之处。Chinese calligraphy and painting are similar to Art Music performance. 巴松管数码教授＃183。Bassoon Digital Professor #183. 译：朱潇潇. Text by Terry B. Ewell, for a Chinese class. Translation aided by XiaoXiao Zhu. www.2reed.net/Chinese.html. 0
Chinese Calligraphy, Painting, and Music Performance /en/lessons/bdp183/#transcript-01 Chinese calligraphy and painting are similar to Art Music performance. Chinese students who are studying music will find it useful to relate music to their past studies of calligraphy. Chinese calligraphy and painting and music performance make use of weight and motion. 1
Chinese Calligraphy, Painting, and Music Performance /en/lessons/bdp183/#transcript-02 In calligraphy every brush stroke should have life in it. The alternations of pauses, weight, motion, lifting can be seen on the paper and observed with the brush strokes. 2
Chinese Calligraphy, Painting, and Music Performance /en/lessons/bdp183/#transcript-03 Let's consider the simple brush stroke of "heng." The stroke contains several parts: a start with pausing, motion, an ending with weight, then a lift. This stroke is an excellent illustration of movement from one measure to another in music. Moving from one downbeat to the next is similar to a series of "hengs" in a row. In music the downbeat has more weight or pausing on it. 3
Chinese Calligraphy, Painting, and Music Performance /en/lessons/bdp183/#transcript-04 The painting of bamboo also features motion from one section to another. Compare the creation of each section to performing each measure of music. The brush moves from section to section. The musician moves from measure to measure. The beginning of each bamboo section has added weight to the brush. In general, the beginning of each measure in music has added weight to the notes. 4
Chinese Calligraphy, Painting, and Music Performance /en/lessons/bdp183/#transcript-05 In Chinese calligraphy and painting we use the brush to add ink to the paper. Each stroke is clearly shown on the paper. Little pressure applies little ink. With more pressure, however, more ink is applied to the paper. 5
Chinese Calligraphy, Painting, and Music Performance /en/lessons/bdp183/#transcript-06 String instruments use the bow in a similar manner. Apply less bow pressure and a quieter sound is heard. Apply more bow pressure and more sound is heard. 6
Chinese Calligraphy, Painting, and Music Performance /en/lessons/bdp183/#transcript-07 Wind instruments use more air for a louder sounds and less air for a quieter sounds. 7
Chinese Calligraphy, Painting, and Music Performance /en/lessons/bdp183/#transcript-08 But of course art music and Chinese painting and calligraphy are much more complex than a single note or a single stroke. 8
Chinese Calligraphy, Painting, and Music Performance /en/lessons/bdp183/#transcript-09 Let's consider further a painting of bamboo. The bamboo has three structures. First the stalk is the support for all of the plant. It is sturdy and regular. Then the branches and finally the leaves are added. Music is similar to this is some ways as well. Many times the musical melody is supported by a simple line, much like the stalk of the bamboo. For instance, this melody from Rimsky Korsakov's Scheherazade is quite simple. 9
Chinese Calligraphy, Painting, and Music Performance /en/lessons/bdp183/#transcript-10 However, like the branches and leaves on bamboo, a composer adds more notes to ornament the melody. 10
Chinese Calligraphy, Painting, and Music Performance /en/lessons/bdp183/#transcript-11 The branches and leaves on the bamboo add beauty. The additional notes also create a more enchanting melody. 11
Chinese Calligraphy, Painting, and Music Performance /en/lessons/bdp183/#transcript-12 We see here that each of the leaves belong to a branch and each branch to the bamboo stalk. In nature, leaves don't appear just in the air by themselves. Each leaf is connected to the plant. 12
Chinese Calligraphy, Painting, and Music Performance /en/lessons/bdp183/#transcript-13 Likewise in music each note most often is linked to other notes. When you perform music, consider how all of the notes are connected and related to each other. 13
Hindemith Sonata: Part 1. First Movement /en/lessons/bdp185/ Hindemith Sonata: Part 1. First Movement Paul Hindemith's Sonata for Bassoon and Piano, first movement. By Terry B. Ewell. Guest performers Vincent Igusa (bassoon) and Catherine Renggli (piano). Bassoon Digital Professor #185. www.2reed.net. By Terry B. Ewell. Guest performers Vincent Igusa (bassoon) and Catherine Renggli (piano). Bassoon Digital Professor #185. www.2reed.net. 0
Hindemith Sonata: Part 1. First Movement /en/lessons/bdp185/#chapter-00-00 The Sonate for Bassoon and Piano by Paul Hindemith is one of the 20th century masterpieces for bassoon. There are several aspects that lend to its popularity. Paul Hindemith is a widely respected and often performed composer with many chamber and orchestral works. This piece in particular is an excellently crafted composition during a period in time when not many chamber works for bassoon were available. But perhaps the most important reason of all for its popularity is that the bassoon part is playable by intermediate students on the bassoon. The most difficult aspect of the work is the piano part, particularly in the Marsch. Be aware that you will need a very accomplish pianist to perform this work! 00:00 1
Hindemith Sonata: Part 1. First Movement /en/lessons/bdp185/#chapter-01-15 I am very grateful for the assistance of my student Vincent Igusa and pianist Catherine Renggli, who perform this composition for the videos in this series. 01:15 2
Hindemith Sonata: Part 1. First Movement /en/lessons/bdp185/#chapter-01-27 The movement is marked leicht bewegt, which is translated "lightly moving." The first section, thus, expresses impatience, a desire to keep moving forward. Notice that the first phrase features a crescendo. The second phrase drops back to piano and once again crescendos without any pulling back. The most common mistake made by students is to either slow down or decrescendo at number 1. No, this phrase must drive all the way to the end leading into the restatement of the opening theme by the piano. The second measure of number 1 should be presented as the climax of the bassoon phrase in the first section although the bassoon does not play in that measure. 01:27 3
Hindemith Sonata: Part 1. First Movement /en/lessons/bdp185/#chapter-02-23 The second section, the fourth measure of number 1, starts with a different character; it is lighter and much more playful. The dotted eighth, sixteenth, and eighth note figure appears here and in the last section, Beschluβ, before number 15 in the piece. Be sure to accurately perform this rhythm by always meeting the last eighth note exactly on the last third of the beat. Please see the last video on the Beschluβ in this series. 02:23 4
Hindemith Sonata: Part 1. First Movement /en/lessons/bdp185/#chapter-03-00 Please note that with just a few exceptions, the work by Hindemith should be performed with strict rhythmic precision. Rubato, that is, varying the placement of notes within beats or measures, is desired in only a few select portions of the piece. I will mention these sections as we progress through the videos. The task of the performer is to express the character of the composition through a musically and historically informed interpretation. Rhythmic precision is one of the characteristics that successfully presents this composition. 03:00 5
Hindemith Sonata: Part 1. First Movement /en/lessons/bdp185/#chapter-03-44 Although the tempo of this section may relax a bit, the dotted eighth, sixteenth, and eighth note rhythms must continue to be precise. Next we need to discuss the return of the 03:44 6
Hindemith Sonata: Part 1. First Movement /en/lessons/bdp185/#chapter-03-58 opening section, the recapitulation before number 3. The term einleiten, which is translated "introduce" or "initiate," appears two measures before the Wie am Anfang, which is translated "like the beginning." This is an ambiguous musical passage that provides several options for the performer. Typically a performer would slow down with a diminuendo that finishes a section. That is a possibility here, however, I think this is the least desirable of the musical choices. Remember that the character of this movement is driving forward with motion. A ritardando here, even slight, appears to me out of character with the movement. 03:58 7
Hindemith Sonata: Part 1. First Movement /en/lessons/bdp185/#chapter-04-54 Instead, I prefer to introduce the Wie am Anfang by moving the tempo forward slightly, particularly at the measure before the return of the theme. If you have slowed the tempo slightly in the middle section, a measure before the Wie am Anfang is a good place to come back to the opening tempo. 04:54 8
Hindemith Sonata: Part 1. First Movement /en/lessons/bdp185/#chapter-05-32 There is a mistake in the bassoon part four measures before the Wie am Anfang. The dotted quarter rest should be an eighth rest. 05:32 9
Hindemith Sonata: Part 1. First Movement /en/lessons/bdp185/#chapter-05-39 One measure before number 4, I suggest using the regular fingering for Db instead of the trill fingering. This is passage is slow enough and the regular fingerings provide full tone on all of the notes. Here are some alternatives. 05:39 10
Hindemith Sonata: Part 1. First Movement /en/lessons/bdp185/#chapter-06-06 The last portion of the movement again features motion going forward. Do not slow down until the last two measures. Even with the diminuendo in the last line the tempo should be steady 06:06 11
Hindemith Sonata: Part 1. First Movement /en/lessons/bdp185/#chapter-06-21 with forward motion. The piano and bassoon should stop the end of the movement together. This is best accomplished by the bassoonist giving a cue when to cut off the note. 06:21 12
Hindemith Sonata: Part 1. First Movement /en/lessons/bdp185/#chapter-06-50 You might find it helpful to add the C# key to stabilize the Bb3, the last note. 06:50 13
Hindemith Sonata: Second Movement, Langsam /en/lessons/bdp186/ Hindemith Sonata: Second Movement, Langsam Paul Hindemith's Sonata for Bassoon and Piano, second movement, Langsam. By Terry B. Ewell. Guest performers Vincent Igusa (bassoon) and Catherine Renggli (piano). Bassoon Digital Professor #186. www.2reed.net. By Terry B. Ewell. Guest performers Vincent Igusa (bassoon) and Catherine Renggli (piano). Bassoon Digital Professor #186. www.2reed.net. 0
Hindemith Sonata: Second Movement, Langsam /en/lessons/bdp186/#chapter-00-00 The second movement of the Hindemith is usual because it is in three sections, each of which is quite different. If the first section, Langsam, or the last, Beschluβ, had been longer, I think that Hindemith would have titled each as a separate movement. In his quintet, he gives the short fourth movement its own number although it is no longer than the Langsam or Beschluβ. Here, however, he was not comfortable with providing three movements and instead just gives one. 00:00 1
Hindemith Sonata: Second Movement, Langsam /en/lessons/bdp186/#chapter-01-04 I want to mention a historic recording of the Hindemith Sonate by Don Christlieb. It was recorded in 1972, and I think that this is the first publically released recording of the work. One of my favorite portions of the recording is the opening of this movement. Notice the shimmering vibrato and long line that is featured in his performance of the work. Too many crescendos or too many overly Romantic gestures are not appropriate for this work. This opening phrase should be appreciated for its simple beauty. 01:04 2
Hindemith Sonata: Second Movement, Langsam /en/lessons/bdp186/#chapter-02-12 Opening of the Langsam by Don Christlieb. The opening to the second movement is marked Langsam, which is translated "slowly." I think that the most difficult part of this section is starting the first note exactly on time, with the correct dynamic, and a beautiful tone. This is something that you should practice with a metronome. Set the tempo for an eighth note = 100. Take two beats to breathe in and then start the F#4 exactly on the third pulse. You will need to practice this several times each day. Make this part of your routine work on this Sonate. Also when you rehearse with your pianist you should also practice starting this movement several times. Of course this will be without a metronome so you must give a very clear cue to your accompanist. 02:12 3
Hindemith Sonata: Second Movement, Langsam /en/lessons/bdp186/#chapter-03-26 The piano accompaniment can be confusing if you are playing this for the first time. Notice that each eighth note beat features the divisions "triplet" or "duplet." When I rehearse this section with my students I always shout out "tri-pl-let du-plet tri-pe-let du-plet" over and over several times. Here it is a bit slower with my counting: Demonstration with the music. I figure that if the student can accurately play while I shout out the rhythmic figures, they will be able to perform with the piano. The student must understand how these recurring divisions set the tempo for the Langsam section. Furthermore, the student must become comfortable performing their part over this rhythmically complex texture. 03:26 4
Hindemith Sonata: Second Movement, Langsam /en/lessons/bdp186/#chapter-04-44 Be sure to play the 32nd notes accurately and in rhythm in the 3/4 measure before number 5. These should be played as written and not rushed. 04:44 5
Hindemith Sonata: Second Movement, Langsam /en/lessons/bdp186/#chapter-04-57 Having now stressed rhythmic accuracy, this slow movement must be performed with a long musical line in mind and without stresses on each beat. Marcel Tabuteau coined the musical expression "drive" to indicate motion in music. I have addressed this concept in several of my articles and videos, which I encourage you to look at. Show on Screen. 04:57 6
Hindemith Sonata: Second Movement, Langsam /en/lessons/bdp186/#chapter-05-42 Play the first four measures as a single phrase that moves forward to the A3 on the downbeat of measure 4. Consequently it would break the phrase if you breathe in the middle of the third measure. Don't breath until the sixteenth rest in the fourth measure. Use your vibrato and a slight increase in dynamics to guide the motion to A3. Notice that Hindemith highlights the importance of this note with a dash over it, asking for stress on the note. Similar to this first phrase, the entire movement should be played with long phrases, avoiding 05:42 7
Hindemith Sonata: Second Movement, Langsam /en/lessons/bdp186/#chapter-06-28 emphasis on every note change and moving toward the goal in each phrase. I suggest that you breathe in the second measure of number 5 before the A octave. Absolutely do not breathe before the return of the melody, the recapitulation! If you breathe before the F#4 you will leave an audible break in the music since the piano part has an eighth rest at the end of the measure. 06:28 8
Hindemith Sonata: Second Movement, Langsam /en/lessons/bdp186/#chapter-06-54 The most difficult rhythmic portion of this section is found four measures before number 6. The rhythmic figure is displaced forward by one eighth note each time it enters. Every student has difficulty with this passage so let's practice it now at a slower speed. Counting with music at half speed. 06:54 9
Hindemith Sonata: Second Movement, Langsam /en/lessons/bdp186/#chapter-07-42 Note the way in which I put the beats in the music. This is a best practice that you should adopt from now on. When beats are subdivided, make the principal beat line longer and the division of the beat shorter. This helps your eye to organize the pulses and as a result you will better perform the music. Notice that I do not include numbers or the "&" symbol. Simply showing the placement of pulses is best. 07:42 10
Hindemith Sonata: Second Movement, Langsam /en/lessons/bdp186/#chapter-08-18 Slightly relaxing the tempo the measure before number 6 is appropriate here. But immediately 08:18 11
Hindemith Sonata: Second Movement, Langsam /en/lessons/bdp186/#chapter-08-25 return to the opening tempo at number 6. The last measure in the piano part leads into the Marsch in an interesting way. Please view the next video to see how this works. 08:25 12
Hindemith Sonata: Part 3. Second Movement, Marsch /en/lessons/bdp187/ Hindemith Sonata: Part 3. Second Movement, Marsch Paul Hindemith's Sonata for Bassoon and Piano, second movement, Marsch. By Terry B. Ewell. Guest performers Vincent Igusa (bassoon) and Catherine Renggli (piano). Bassoon Digital Professor #187. www.2reed.net. By Terry B. Ewell. Guest performers Vincent Igusa (bassoon) and Catherine Renggli (piano). Bassoon Digital Professor #187. www.2reed.net. 0
Hindemith Sonata: Part 3. Second Movement, Marsch /en/lessons/bdp187/#chapter-00-00 Introduction 00:00 1
Hindemith Sonata: Part 3. Second Movement, Marsch /en/lessons/bdp187/#chapter-00-17 Hindemith provides a transitional device between the Langsam and the Marsch. The speed of eighth-note triplets (150) in the last measure of the Langsam are almost exactly the speed of the quarter notes (144) in the Marsch. My suggestion is to play the eighth note triplets exactly the same speed as the Marsch tempo. This allows for an easy start to the Marsch. Piano music---introduction to the Marsch. Music---introduction to the Marsch. 00:17 2
Hindemith Sonata: Part 3. Second Movement, Marsch /en/lessons/bdp187/#chapter-01-01 I approach the first portion of the Marsch with rhythmic precision and unvarying tempo. I suggest playing this portion in four, with the quarter note receiving the beat. You should take great care to play accurately all of the rhythms. For instance, I instruct my students to use the full fingerings in the fourth beat of the second measure and not employ the trill fingerings for D4-E4. Students who use the trill fingerings not only tend to rush these notes, but also do not produce clear resonance on all of the notes. 01:01 3
Hindemith Sonata: Part 3. Second Movement, Marsch /en/lessons/bdp187/#chapter-01-51 The passage that is four measures before number 8 deserves special attention. Please carefully study the subdivisions given in the example. Notice that the switch to triplets is made as quickly as possible (on the quarter note) to aid the accuracy of the following triplet eighth notes. Too often these triplet notes are performed as sixteenth notes. Students should practice this example slowly by tonguing all of the subdivisions. Make certain that the triplet eighth notes are exactly one third of the beat. Often the first note in the triplet is too long. The second note of the triplet must come early enough. Example Vincent practicing. Here is the section performed up to speed. Music. I prefer to change the character of the music 01:51 4
Hindemith Sonata: Part 3. Second Movement, Marsch /en/lessons/bdp187/#chapter-03-07 one measure before number 8. Up to this point in the movement, I perform the articulated notes with some separation. Here, however, on the forte I play with longer value notes, much like someone would sing a faster patriotic song or national anthem: with enthusiasm and a full voice. Notice that the volume of the bassoon and piano parts continue at forte up to fifth measure, the third beat. 03:07 5
Hindemith Sonata: Part 3. Second Movement, Marsch /en/lessons/bdp187/#chapter-03-51 Hindemith's composition is well-crafted and provides evidence of careful planning with the melodic and harmonic materials. Illustrating this is the fifth measure of number 8, which contains adjacent Db3 and C#3 notes. On first sight this seems to be haphazard and arbitrary. For some 20th century composers the choice of accidentals is arbitrary, however, that is not the case for Paul Hindemith. We learn from his writings that harmonies were carefully chosen to express tension and release. His work, The Craft of Musical Composition demonstrates the importance of spelling with accidentals. For instance, in volume 1, page 127, example g notice the adjacent chords have a tied over common tone, but the G# is given in the first chord and an Ab in second. The change in spelling alerts the performer to a change in harmony. 03:51 6
Hindemith Sonata: Part 3. Second Movement, Marsch /en/lessons/bdp187/#chapter-05-07 Here in the Hindemith Sonate we have a similar situation. The change of accidentals here is highly significant and signals not only a new harmony but also new melodic material. The Db3 is the end of the forte section featuring what I have called a "national anthem." The C#3 indicates something new and immediately should be played quietly to start the counterpoint between the bassoon and piano. Both the bassoon and piano must change to the quiet dynamic 05:07 7
Hindemith Sonata: Part 3. Second Movement, Marsch /en/lessons/bdp187/#chapter-05-45 on the fourth beat of that measure. In contrast to the Marsch, the Trio is best played with some rubato. Play the Trio in two, that is, with the half note receiving the beat. Do not play this rhythmically precise, but allow for slightly Romantic gestures. Move the speed of notes forward to climaxes and relax the phrases slightly after the climax is reached. For instance, the third measure of the Trio is where I would push the phrase forward until the climax on C4. Then allow the tempo to relax and recover a bit. Example Vincent playing alone, mm. 127--8. There are other places in the Trio where rubato is appropriate as well. Now, one key to effectively perform the Marsch 05:45 8
Hindemith Sonata: Part 3. Second Movement, Marsch /en/lessons/bdp187/#chapter-06-48 is to distinguish between the Marsch musical materials and the Trio musical materials. Play the Marsch always in four and with rhythmic precision. For instance, the Marsch returns at number 11 in the piano. Later in the section the Trio returns eight after number 12. Here the eighth notes in the bassoon should accommodate the phrasing of the piano. Both instruments should play in two and allow for rubato. 06:48 9
Hindemith Sonata: Part 3. Second Movement, Marsch /en/lessons/bdp187/#chapter-07-40 The greatest rubato or freedom of tempo in the movement is at zögern, which is translated 07:40 10
Hindemith Sonata: Part 3. Second Movement, Marsch /en/lessons/bdp187/#chapter-07-48 as "hesitate" or "hold back." Now I end this video with a few performance details for the bassoonist. Five measures after number 12 use one of these fingerings for the trill. Please also note that this trill is not forte, that is a mistake. Play this mp and then follow the crescendo mark. The downward slur in the next measure from G4-C4 is best accomplished without flicking the C4. I hope that you have viewed the other two 07:48 11
Hindemith Sonata: Part 3. Second Movement, Marsch /en/lessons/bdp187/#chapter-08-24 videos on the Hindemith Sonate by now. Please proceed to the last video in the series in which we examine the Beschluβ or conclusion to the composition. 08:24 12
Hindemith Sonata: Second Movement, Beschluβ /en/lessons/bdp188/ Hindemith Sonata: Second Movement, Beschluβ Paul Hindemith's Sonata for Bassoon and Piano, second movement, Beschluβ. By Terry B. Ewell. Also this video contains comments on performing musical gestures. Guest performers Vincent Igusa (bassoon) and Catherine Renggli (piano). Bassoon Digital Professor #188. www.2reed.net. By Terry B. Ewell. Also this video contains comments on performing musical gestures. Guest performers Vincent Igusa (bassoon) and Catherine Renggli (piano). Bassoon Digital Professor #188. www.2reed.net. 0
Hindemith Sonata: Second Movement, Beschluβ /en/lessons/bdp188/#chapter-00-00 Introduction 00:00 1
Hindemith Sonata: Second Movement, Beschluβ /en/lessons/bdp188/#chapter-00-17 Well, we have come to the last video in the series. Most fitting is that this movement is called Beschluβ which is translated "conclusion." Hindemith also gives the instructions Pastorale-Ruhig, which is translated "pastoral" and "calm." I hope that you have had a chance to view the other three videos in this series on the Hindemith Sonate. These will be helpful for 00:17 2
Hindemith Sonata: Second Movement, Beschluβ /en/lessons/bdp188/#chapter-00-46 you as you study this piece. The opening piano section should be phrased with some rubato or slight changes in tempo. This is the most extensive piano solo in the composition, so the pianist should take advantage of it. Music. Much of this movement, in fact, should move 00:46 3
Hindemith Sonata: Second Movement, Beschluβ /en/lessons/bdp188/#chapter-01-25 forward to musical goals and then relax. The most important rhythm to master in this section is that of the dotted eighth, sixteenth, and eighth note. Let's just call it the "Figure." In the Figure I suggest practicing quarter note and eighth note sequences first. Practice this with a metronome, making certain that the eighth note coincides exactly with the last third of the beat. When you have mastered this rhythm add the sixteenth note. Again this should be practiced with a metronome. Once you have mastered the rhythm of the Figure 01:25 4
Hindemith Sonata: Second Movement, Beschluβ /en/lessons/bdp188/#chapter-02-08 it is now time to shape these as gestures. The notes in the Figure are not played with equal emphasis. The dotted eighth on the beat receives the most weight. The eighth notes move forward to each dotted eighth and likewise the sixteenths have motion towards each eighth note. Thus the traditional beaming of the notes does not show the musical groupings of these notes. Instead the musical groupings are better represented in this figure. 02:08 5
Hindemith Sonata: Second Movement, Beschluβ /en/lessons/bdp188/#chapter-02-46 I don't play each of the Figures the same. In general, the downward moving Figures I play with more separation, coming away from notes, quicker diminuendos, with less emphasis on each note. In addition, I slightly "rhythmitize" the sixteenths. I play them a little quicker than sixteenth notes but not as quick as 32nd notes. These downward Figures I try to perform with a more relaxed, calm, and pastoral mood. Music. 02:46 6
Hindemith Sonata: Second Movement, Beschluβ /en/lessons/bdp188/#chapter-03-32 The upward moving Figures, however, I play with more length and emphasis; more agitation. The sixteenth notes are played in rhythm and lengthened. This helps to convey more weight to the notes and greater intensity. All notes are played without diminuendos and in fact move forward to the highest pitch. Music. 03:32 7
Hindemith Sonata: Second Movement, Beschluβ /en/lessons/bdp188/#chapter-04-05 In music we have special terms for types of gestures. "Motives" refers to rhythmic fragments that can be expressed with various pitches. The Figure is a motive in this movement. Phrases are longer groupings of music and here in this movement they are often made up of motives and other music materials. Both motives and phrases can be thought of as gestures, some smaller and some larger with multiple components. 04:05 8
Hindemith Sonata: Second Movement, Beschluβ /en/lessons/bdp188/#chapter-04-44 Music is more than just the arrangement of starts and stops of notes. Music speaks, it stirs emotions. The goal of the musician is to communicate the music to the listener. The word "gesture" is able to describe aptly how a performer communicates to a listener. 04:44 9
Hindemith Sonata: Second Movement, Beschluβ /en/lessons/bdp188/#chapter-05-05 These gestures of communication are similar to the motions given by dancers. Some movements convey one meaning and other motions provide communication of something different. Brush strokes in painting may also convey many varieties of meaning. 05:05 10
Hindemith Sonata: Second Movement, Beschluβ /en/lessons/bdp188/#chapter-05-26 In the example of Chinese painting I am providing here, the strokes to create bamboo stalks, branches, and leaves are gestures. Music with synchronized painting gestures. 05:26 11
Hindemith Sonata: Second Movement, Beschluβ /en/lessons/bdp188/#chapter-06-20 Each gesture contributes in a unique way to the painting and taken altogether provide final meaning to the work. Similarly, each gesture in music builds upon and enhances the other gestures given by the performer. Music under this text: The musician needs to scale each gesture. Some are less significant and therefore highlighted less in the music. Other musical statements are bold and need to be projected with more force. When you 06:20 12
Hindemith Sonata: Second Movement, Beschluβ /en/lessons/bdp188/#chapter-06-55 perform music paint with your tone; dance with your musical statements; speak to your audience with your musical expression. This will not only bring greater joy to your audience, but you will gain greater satisfaction with your role as an interpreter of the music. 06:55 13
Multiple Tonguing 2 /en/lessons/bdp19/ Multiple Tonguing 2 Presentation of two methods for mastering double tonguing. By Terry B. Ewell. Bassoon Digital Professor video #19. www.2reed.net. Presentation of two methods for mastering double tonguing. By Terry B. Ewell. Bassoon Digital Professor video #19. www.2reed.net. 0
Multiple Tonguing 2 /en/lessons/bdp19/#chapter-00-00 Well, welcome. This is the second video in a multi-video series dealing with multiple tonguing techniques. This second video is on double tonguing and the third video will also be on double tonguing. This video will focus on practice methods for double tonguing. 00:00 1
Multiple Tonguing 2 /en/lessons/bdp19/#chapter-00-40 Well, there are two approaches for how to practice double tonguing. One method is to practice notes as short as possible and the other is to practice notes as long as possible. 00:40 2
Multiple Tonguing 2 /en/lessons/bdp19/#chapter-00-54 The short note method is advocated by Don Christlieb, a bassoonist in the Los Angeles (USA) area. This is an article that I have referenced by Charles Lipp. Also, Arthur Weisberg, who formerly taught at Yale and Indiana University (advocates short notes). This is found in his book The Art of Wind Playing. 00:54 3
Multiple Tonguing 2 /en/lessons/bdp19/#chapter-01-20 The advantages to the short note method of articulation, double tonguing, is that it features swift transitions from front to back articulation. You will need to go back to video one to see that. Front articulation is with "T," "D," or "L": someplace where the tongue contacts the reed, a consonant that contacts the reed. The back articulation is at the roof of the mouth with perhaps a "K" or a "G": some sort of consonant that brushes the tongue against the roof of the mouth. The advantage of this type of articulation approach is that it features swift transitions, quickly going from one consonant to the next. As a consequence, you may be able to attain quick articulation speeds more rapidly than 01:20 4
Multiple Tonguing 2 /en/lessons/bdp19/#chapter-02-20 the other method. Let's have a look at that. With the front tongue, the tongue contacts the reed here. The transition period where the tone is produced, the air comes up here, around the tongue and then out the reed. The transition period is a short as possible. Quickly the tongue moves to the roof of the mouth, closing off the air supply with a "K" or a "G" consonant here. The short note approach is one that I don't advocate. The approach that I do advocate for double tonguing and the other multiple tonguing techniques 02:20 5
Multiple Tonguing 2 /en/lessons/bdp19/#chapter-02-58 is the long note approach. I have looked in the literature and I have not found anything printed about the long note approach. It may be my own writings, but I am certain that there are others that are using this. They are just not in print. I can't claim to have come up with this approach myself. I think that I have learned it from other teachers. Here are the advantages of the long note approach. 02:58 6
Multiple Tonguing 2 /en/lessons/bdp19/#chapter-03-28 The emphasis is on quick and clean articulations. The consonants used in this articulation are as light and as quick as possible. Next, is attention to the quality of the tone produced. This is something that I think is very important. The tone quality should not suffer with more rapid articulation. You should still have a wonderful quality of sound just like you would with legato notes. You need to have the same quality of sound for staccato notes or rapidly tongued notes. Next, and this is particularly important for the bassoonist, many bassoonists do tongue or articulate with wild jaw motions, movement of the jaw. Concentrating on very legato tonguing minimizes the jaw motions, hopefully eliminating it altogether. The other things I like about this particular approach is that it more closely simulates single tonguing techniques. We will look at that a little bit later. In particular, it varies the note lengths based on the speed or tempos of those notes. The short note articulation approach does not vary the length of those notes. I think that is a real disadvantage. Again, in this view, your tongue contacts the reed in the same place with the front consonants. But the transition period is kept for a much longer period of time. Then you quickly brush the tongue up against the roof of the mouth for the other note and 03:28 7
Multiple Tonguing 2 /en/lessons/bdp19/#chapter-05-16 then back. In this type of articulation, that is very quick, and this is very quick. The "K" and then the "T." You are keeping this transitional area (longer). So, let's compare again the two types of articulation and let's give an example in a slow tempo. In a slow tempo with the fast, short note articulation, you are going "TiK." The "I" or "EE" vowels are very suitable for oboe players and also works well for bassoonists. 05:16 8
Multiple Tonguing 2 /en/lessons/bdp19/#chapter-05-48 The vowel "Ah" will work better in certain ranges for bassoonists such as "TaaK" (talk). But let's do, "TiK," "KiT." You can see how quickly those were. What you do is to keep your air supply going through this whole exercise. "TiK," "KiT." I kept the air pressure coming. Now, in the long note exercise the emphasis is keeping the open syllables. 05:48 9
Multiple Tonguing 2 /en/lessons/bdp19/#chapter-06-20 Ti-----K, I am sorry I didn't do it quick enough. Ti-----Ki------Ti-----Ki-----. Ta------Ka-----Ta-----Ka----. I am making the consonants very quick and the note sounding as long as possible. 06:20 10
Multiple Tonguing 2 /en/lessons/bdp19/#chapter-06-43 That is the difference there at the slow tempo Notice at the faster tempo that the length of the notes for the short articulation is the same...the fast note articulation is the same. The slow note articulated notes are shorter (than the last example). This more precisely imitates what you would do if you single tongued. Generally, you will vary the length of the note according to the tempo. 06:43 11
Multiple Tonguing 2 /en/lessons/bdp19/#chapter-07-20 You should proceed to the third video now. I have some practice exercises for double tonguing. God bless you. 07:20 12
Fingering Technique: Motion of Fingers /en/lessons/bdp23/ Fingering Technique: Motion of Fingers Terry B. Ewell discusses half hole technique on bassoon and finger movement. Bassoon Digital Professor video #23. www.2reed.net. Terry B. Ewell discusses half hole technique on bassoon and finger movement. Bassoon Digital Professor video #23. www.2reed.net. 0
Fingering Technique: Motion of Fingers /en/lessons/bdp23/#chapter-00-00 Music: Vivaldi's Concerto in E minor, opening. Welcome, I am Terry Ewell. In this video I will be discussing finger position and proper finger techniques. This is material that will be useful not only to the beginner, but also for the more advanced student as well. 00:00 1
Fingering Technique: Motion of Fingers /en/lessons/bdp23/#chapter-00-36 So let's start out with first the technique on the bassoon that we call the "half hole" technique. This particular technique is to used on the three notes above open F. We call that F, "F3": from the labeling system of the Acoustical Society of America. The first notes would be F sharp 3. Music: demonstration of F sharp 3. 00:36 2
Fingering Technique: Motion of Fingers /en/lessons/bdp23/#chapter-01-04 Now I will come a little closer to the camera so that you can see exactly what I am doing here. So for F sharp 3 we need to vent a little bit this first half hole. You can understand the proper position of the half hole if you press down your first finger and then look at where the hole appears. And you can see that the hole is off to the side of my finger. The position of the hole should not be centered in the middle of the finger, but a little bit to the side. When we half hole we never slide up and down. Instead you turn the finger a little bit. 01:04 3
Fingering Technique: Motion of Fingers /en/lessons/bdp23/#chapter-01-47 Now the proper effect of the half hole can be observed by the way the note sounds when the hole is opened or closed. For instance, I will start the F sharp, the F sharp 3 above open F with the hole half open. Then I will slowly close it. Music: demonstration of F sharp 3, closing half hole. If I loosen my embouchure the note will go down to the lower octave. If the half hole is not open, you get an indistinct sound. Music: closed half hole on F sharp 3. It is an indistinct sound, like a chord. In fact it is a multiphonic—this is what we call this on the bassoon. So it is important that you vent that hole, that you open up that hole. 01:47 4
Fingering Technique: Motion of Fingers /en/lessons/bdp23/#chapter-02-41 The other thing you will notice—this is important for tuning—the more open the hole is, that first finger hole, the sharper the note. So if I open that hole all the way, I will demonstrate to you here: Music: demonstration. I don't know if you can hear that. I opened the hole all the way and then I closed it. Demonstration. Can you hear as I open the hole further, the note gets a little sharper. As I close it, it darkens the note and lowers the pitch. Particularly for F sharp it is important that we not have the half hole open all the way. Probably one-fourth of the hole open is just about right for that particular note. 02:41 5
Fingering Technique: Motion of Fingers /en/lessons/bdp23/#chapter-03-40 Now the other notes that use it are the G above and G sharp above it. It is important to have the whisper key down. This pad here needs to be engaged for the half hole. 03:40 6
Fingering Technique: Motion of Fingers /en/lessons/bdp23/#chapter-03-57 Now, let's talk a little bit about finger placement and proper position. Once again I will come up to the camera so you can see closer. What you want to do is keep a certain curve to your fingers. Avoid over collapsed joints. So if this joint or any other joints collapse then in order to raise it you have to have a little bit pre-excessive motion going. So if you can keep these fingers pretty much straight—without much collapsing—it gives you a movement that is good for opening and closing notes, rather than extending those motions. Those people that are "double jointed" are going to find this more difficult. They may have to work at training their fingers to be relaxed, with a natural bow or curve in order to move up and down. Now the other aspect of this is that it is important to avoid too much motion with your fingers. Keeping your fingers close to the keys and holes is the best approach to technique. 03:57 7
Fingering Technique: Motion of Fingers /en/lessons/bdp23/#chapter-05-16 Now let's address the hand, in particular the fingers. It is important for you to understand the mechanics of your fingers if you are to gain as fluid a technique as is possible. Your fingers—not your thumbs—but your fingers have three different joints. You have the joint furthest away from the hands. It is the distal phalange. You have a second joint, the intermediate phalange. And then the one in closest proximity is called the proximal phalange. It is interesting and important for you to understand how each of these work. 05:16 8
Fingering Technique: Motion of Fingers /en/lessons/bdp23/#chapter-06-00 If you close off your hand and try to do it so that you can only move the distal phalanges—the joints that are furthest away. Go ahead and do that. See how quickly you can move those back and forth. Release those and see if you can move only the intermediate phalanges. I find that I can move those a little more swiftly than the distal phalanges. Then if you allow the proximal phalanges, the joints just right at the knuckles, to move, I find that is in fact the most free and quickest of the motions. 06:00 9
Fingering Technique: Motion of Fingers /en/lessons/bdp23/#chapter-06-43 Well, that is important for you to understand because if you want to maximize the hand and its ability to play as quickly as possible, then we have shown that by looking at these joints and the ability to move swiftly, as much as possible you want to move the proximal phalanges first. You want to give them preference over the others. If your particular instrument position doesn't allow for free movement there, next you want to move the intermediate phalanges. Last of all, the distal. 06:43 10
Fingering Technique: Motion of Fingers /en/lessons/bdp23/#chapter-07-22 So if you look at the bassoon and placement of fingers, again I am going to bring my bassoon up closer so you can see the hand position, you will see with this first finger I can move the intermediate phalange. The proximal phalange is set where it is. With the second finger and the third as well, there is some distal phalange motion I can do. So it is important for me not to be moving my fingers this way, but to concentrate and try to get as much motion from there, proximal, leaving these fingers, other joints, set. The distal and intermediate phalanges are set, allowing the motion to be as much as possible in the proximal joints. 07:22 11
Fingering Technique: Motion of Fingers /en/lessons/bdp23/#chapter-08-10 Now in the right hand, it in fact should all be proximal phalange motion. I can always move from the knuckles. Again I establish the curvature and position of the fingers. Not moving this way, like kneading dough or squeezing a ball. 08:10 12
Fingering Technique: Motion of Fingers /en/lessons/bdp23/#chapter-08-30 Music: Vivaldi's Bassoon Concerto "La Notte". 08:30 13
Multiple Tonguing 3 /en/lessons/bdp237/ Multiple Tonguing 3 Multiple Tonguing 3: Practice Exercises for Tonguing. This video presents mixed or combination tonguing as well as double tonguing exercises. By Terry B. Ewell. www.2reed.net/. BDP #237. Multiple Tonguing 3: Practice Exercises for Tonguing. This video presents mixed or combination tonguing as well as double tonguing exercises. By Terry B. Ewell. www.2reed.net/. BDP #237. 0
Multiple Tonguing 3 /en/lessons/bdp237/#chapter-00-00 music: Weber, Rondo This is the third video dealing with multiple tonguing techniques and it replaces my older video BDP #20 and adds some new content. This video will present exercises for oboe and bassoon as well as other instruments. All of these exercises are available for free on 2reed.net at this link: Multiple Tonguing / Articulation Resources 00:00 1
Multiple Tonguing 3 /en/lessons/bdp237/#chapter-00-43 There are several important points to stress when practicing multiple tonguing techniques. In the last video (BDP #19---English, and BDP #236---Spanish) I made the case for practicing long vowel articulations and not short vowel articulations. The consonants used with the front and back of the tongue should be as swift and as light as possible. It is best to think of this articulation as legato in style. 00:43 2
Multiple Tonguing 3 /en/lessons/bdp237/#chapter-01-19 Keep the K consonant as far forward in your mouth as possible. This will help for lighter and faster articulation. Do not articulate the K consonant near the throat as shown in 01:19 3
Multiple Tonguing 3 /en/lessons/bdp237/#chapter-01-35 this picture. Next, in order to perform fast, you must practice fast. Sprinters don't get faster by imitating the running motions in a very slow, ponderous walk. Likewise, the fast twitch tongue muscles must be mastered at rapid---but controlled---speeds. I call exercises that target these fast motions "sprints." 01:35 4
Multiple Tonguing 3 /en/lessons/bdp237/#chapter-02-03 Last of all, having a variety of tonguing techniques is a real advantage for a performer. Mastering a number of different tonguing techniques allows you to choose the one most appropriate for the speed and context. These are the approximate tempos of my most commonly used tonguing techniques for divisions of four in a beat: I find that the mixed tonguing is the most 02:03 5
Multiple Tonguing 3 /en/lessons/bdp237/#chapter-02-30 useful in many of the fast tempos needed and it sounds more like single tonguing than double tonguing. I was introduced to this type of articulation by Arthur Grossman and he in turn learned of the technique from Bernard Garfield. Please see Garfield's article in Woodwind World. Here are a few sample exercises. In the first exercise we have a five-note sprint. Here the double tongue pattern is given. Here the 02:30 6
Multiple Tonguing 3 /en/lessons/bdp237/#chapter-02-59 mixed tonguing pattern is given. I suggest that you practice all of your types of tonguing at the same time for efficiency: that is single, mixed, and double tonguing all together. Vary the speed of the exercises by starting slowly and then increasing the speed. In these little exercises always sprint to the end. Never slow down! 02:59 7
Multiple Tonguing 3 /en/lessons/bdp237/#chapter-03-35 Here are exercises with two beats of sprints, which total nine notes. Again, practice this with different tonguing patterns. Once you have mastered two beats then try three beats and more. Be aware, however, that we are not working for endurance rather speed. If you 03:35 8
Multiple Tonguing 3 /en/lessons/bdp237/#chapter-03-57 find your tongue slowing at the end you are probably doing a sprint that is too long. In this next example are sprints on scales. Use single, mixed, and double tonguing on 03:57 9
Multiple Tonguing 3 /en/lessons/bdp237/#chapter-04-14 these examples. One more general comment about your practicing. Once you reach a failure speed, that is, a speed at which you can't consistently do the exercise, then slow down the tempo and complete a few more repetitions so that you have it under control. I believe that it is important to end practice sessions with success, not with failure. Once you reach a tempo when you can't continue, reduce the tempo and 04:14 10
Multiple Tonguing 3 /en/lessons/bdp237/#chapter-04-44 do some successful repetitions. I have had colleagues and students complain to me that they don't want to use mixed tonguing because it is extra work. Personally, I find the final result, tonguing that is fluid and which best matches the sound of rapid single tonguing, to be all the motivation I need to practice this technique. However, here is an example that might provide further motivation for you. 04:44 11
Multiple Tonguing 3 /en/lessons/bdp237/#chapter-05-16 Mozart's 35th symphony contains a passage where the bassoon is required to leap downwards with octaves in rapid 16th notes. The "K" consonant does not articulate well in the low register and especially when in a downward leap. Alternating the sequence of the mixed tonguing helps to solve this problem. Here a pattern of "T T T K" works quite well. 05:16 12
Multiple Tonguing 3 /en/lessons/bdp237/#chapter-05-45 This ends our overview of multiple tonguing techniques. I do, however, have two other videos that apply tonguing techniques to bassoon literature. Please see my discussion of Beethoven's Fourth Symphony in BDP #78. Also, see my presentation of triple tonguing Practicing Beethoven's 4th Symphony: Articulation --- BDP #78 in the Weber Hungarian Rondo in BDP #191. God bless you as you work diligently to improve Triple Tonguing for Bassoon --- BDP #191 05:45 13
Multiple Tonguing 3 /en/lessons/bdp237/#chapter-06-15 your articulation! music: Weber, Rondo 06:15 14
Milde's Three Easy Pieces /en/lessons/bdp312/ Milde's Three Easy Pieces Ludwig Milde's Three Easy Pieces. Terry B. Ewell provides practice and performance suggestions for this collection of compositions for the young bassoonist. Performances by Terry B. Ewell, bassoon and Elaine Ross, piano. Bassoon Digital Professor video #312. www.2reed.net. Ludwig Milde's Three Easy Pieces. Terry B. Ewell provides practice and performance suggestions for this collection of compositions for the young bassoonist. Performances by Terry B. Ewell, bassoon and Elaine Ross, piano. BDP #312, www.2reed.net. 0
Milde's Three Easy Pieces /en/lessons/bdp312/#chapter-00-00 Hello, I am Terry Ewell. Welcome to this video on three delightful little compositions for the young bassoonist by Ludwig Milde. Now, Milde is most famous for his Concert Studies, opus 26, which are really for quite advanced players. These studies, however, compositions are for the young bassoonist quite demanding and explore some wonderful lyrical aspects of the instrument. 00:00 1
Milde's Three Easy Pieces /en/lessons/bdp312/#chapter-00-36 The different rhythmic subdivisions in the first piece can be a bit difficult. Students should begin by practicing the different subdivisions with a metronome. Here is a useful exercise practicing divisions of two and three. Music video example, tempo 60. 00:36 2
Milde's Three Easy Pieces /en/lessons/bdp312/#chapter-01-11 Once the slower speeds have been mastered, faster speeds need to be done. Music video examples, 80, 100, 116. 01:11 3
Milde's Three Easy Pieces /en/lessons/bdp312/#chapter-01-45 Then work for half note groupings with groups of four and six, as needed for the composition. Music video example, half note = 58. 01:45 4
Milde's Three Easy Pieces /en/lessons/bdp312/#chapter-02-02 The end result should be fluid and very romantic in expression. Music: 1st Piece, beginning. 02:02 5
Milde's Three Easy Pieces /en/lessons/bdp312/#chapter-02-51 Most musical gestures in the Three Easy Pieces should express the four-measure phrasing. Each phrase features a crescendo and diminuendo. The placement of the climax, however, will depend upon the music. I like to move the first phrase to the appoggiatura in measure four. The second phrase follows the contour of the higher and lower notes. 02:51 6
Milde's Three Easy Pieces /en/lessons/bdp312/#chapter-03-32 Music: 2nd Piece, beginning. 03:32 7
Milde's Three Easy Pieces /en/lessons/bdp312/#chapter-03-44 The range of the three compositions extend to F#4 and G4. If you need to consult a fingering chart for these notes, please see my publication on 2reed.net. 03:44 8
Milde's Three Easy Pieces /en/lessons/bdp312/#chapter-04-04 Here is a performance of the ending of the last piece, which features these higher notes. Music: 3rd Piece, ending. 04:04 9
Jacob's Four Sketches for Bassoon and Piano /en/lessons/bdp313/ Jacob's Four Sketches for Bassoon and Piano Gordon Jacob's Four Sketches for Bassoon and Piano. Terry B. Ewell provides practice and performance suggestions for ensemble playing, style, and fingerings. Terry B. Ewell, bassoon, Elaine Ross, piano. Bassoon Digital Professor video #313. www.2reed.net. Gordon Jacob's Four Sketches for Bassoon and Piano. Terry B. Ewell provides practice and performance suggestions for ensemble playing, style, and fingerings. Terry B. Ewell, bassoon, Elaine Ross, piano. BDP #313, www.2reed.net. 0
Jacob's Four Sketches for Bassoon and Piano /en/lessons/bdp313/#chapter-00-00 Music: Jacob, Fourth Sketch. Hello, I am Terry Ewell, and I am pleased to present this video on Gordon Jacob’s Four Sketches for bassoon. Although the composition appears to be quite easy, it really is a fine study on three important aspects of bassoon playing. These aspects are ensemble playing or communication, providing character, and fingerings. 00:00 1
Jacob's Four Sketches for Bassoon and Piano /en/lessons/bdp313/#chapter-00-38 The first movement, “A Peaceful Piece,” provides excellent practice for the bassoon player to give a cut off at the end. This is needed so that both instruments end together. Notice that I need to indicate to the pianist when I will stop the note. So, I do that by a gesture with my instrument, with the bassoon bell. Now, notice that you have to be very careful that you are not moving the embouchure on the reed to give the cut off. So, I have to move my whole body together. I move my waist keeping everything fixed. No movement of the head there. Let’s see how this is done in the performance. 00:38 2
Jacob's Four Sketches for Bassoon and Piano /en/lessons/bdp313/#chapter-01-40 Music: ending of the 1st Sketch. 01:40 3
Jacob's Four Sketches for Bassoon and Piano /en/lessons/bdp313/#chapter-02-21 When you are performing with a live accompanist it is important you have the ability to communicate with them. Obviously, you can communicate through breaths and gestures, but you also need to open up the site lines. So, you can see your accompanist out of the corner of your eye. Typically, I would move a little bit further back if I was in a performance with an accompanist. I was in this position so that I could be closer to the microphone so that it could pick up the bassoon a little bit better. But when you perform with an accompanist and it is with a grand piano, you should probably be a little bit further into the place where the piano bends here. 02:21 4
Jacob's Four Sketches for Bassoon and Piano /en/lessons/bdp313/#chapter-03-08 The second movement also must be performed with excellent communication between the pianist and bassoonist. Music is often a dialogue between instruments. You must be aware of the other instruments and communicate by listening and at times with visual cues. Here is a brief example from the 2nd movement, “A Little Waltz.” 03:08 5
Jacob's Four Sketches for Bassoon and Piano /en/lessons/bdp313/#chapter-03-46 Music: portion of the 2nd Sketch. 03:46 6
Jacob's Four Sketches for Bassoon and Piano /en/lessons/bdp313/#chapter-03-58 The third and fourth movements of the composition provide excellent illustrations about how to provide character or communicate moods and emotion through music. The third movement, “L’Après-Midi D’un Dinosaur,” should present a lumbering, plodding creature. Here it is in the music: 03:58 7
Jacob's Four Sketches for Bassoon and Piano /en/lessons/bdp313/#chapter-04-31 Music: portion of the 3rd Sketch. 04:31 8
Jacob's Four Sketches for Bassoon and Piano /en/lessons/bdp313/#chapter-04-59 However, in contrast the fourth movement, “Polka,” should be nimble, with shorter notes. Articulation is a very important way to communicate the mood of a composition. 04:59 9
Jacob's Four Sketches for Bassoon and Piano /en/lessons/bdp313/#chapter-05-24 Music: portion of the 4th Sketch. 05:24 10
Jacob's Four Sketches for Bassoon and Piano /en/lessons/bdp313/#chapter-05-35 Last of all, be sure to make use of proper fingerings in the movement. I find that many beginning students do not make proper use of the whisper key. The whisper key should be down for all notes below and including Ab3. G3 absolutely should have the little finger Eb key depressed so that it is better in tune. This will lower the pitch. Last of all, make use of the flick or speaker keys for the tongued notes on A3, B3, and C4. I have a free fingering chart that is available. Please consult the chart regularly! 05:35 11
Jacob's Four Sketches for Bassoon and Piano /en/lessons/bdp313/#chapter-06-25 It is very important for you to practice with accompaniments. I have made these available to you on 2reed.net. Let me show you how to access that. First off, “Graded Bassoon,” if you go to that link page, you will see all sorts of things in order. This is graded by the Maryland Solo and Ensemble, the Music Educators Association listing. It also coincides with many lists throughout the world including those of the Associated Board of Royal Schools of Music, etc. 06:25 12
Jacob's Four Sketches for Bassoon and Piano /en/lessons/bdp313/#chapter-07-10 The easiest are Grade 1. The Gordon Jacob piece is actually a Grade 3. So, if you look at the Grade 3 solos. It is here and you can find where that is. Look down the list. You can see that I have a lot of things in Grade 3. There are lots of things you can be doing. There we are—Jacob, Four Sketches. You can see that I have tempos here for MIDI and mp3. Eventually I will be placing the link for the video here. Also, you can look up on 2reed.net the MIDI files by alphabet letter or the mp3 files. So, if you don’t know what level it is, you can simply go to J and very quickly find it that way. Here you go! Scroll down to Jacob and there it is, the Four Sketches. 07:10 13
Jacob's Four Sketches for Bassoon and Piano /en/lessons/bdp313/#chapter-08-21 Well, I hope you enjoy this wonderful collection of character pieces. Thank you, Mr. Jacob, for your compositional talents! Music: Jacob, Fourth Sketch. 08:21 14
Phillips, Burrill: Concert Piece /en/lessons/bdp314/ Phillips, Burrill: Concert Piece Burrill Phillips’ Concert Piece. Terry B. Ewell provides performance and practice suggestions. Excerpts from the 1984 performance with the Seattle Youth Symphony Orchestra are also provided. BDP #314, 2reed.net. Burrill Phillips’ Concert Piece. Terry B. Ewell provides performance and practice suggestions. Excerpts from the 1984 performance with the Seattle Youth Symphony Orchestra are also provided. BDP #314, 2reed.net. 0
Phillips, Burrill: Concert Piece /en/lessons/bdp314/#chapter-00-00 There are some composers who are quite well known to bassoonists but relatively unknown to other musicians. I am thinking of the English composers Galliard and Jacob. Also, consider the great Germanic pedagogues and composers Weissenborn and Milde. They also illustrate this point. Similarly, in the USA, there are composers whose works are well beloved by bassoonists but often unknown by most other musicians. The Osborne Rhapsody for solo bassoon comes to mind. I already have three videos on that work. But now I give you a video on another work that is beloved by bassoonists. This is the Concert Piece by Burrill Phillips. In this video I discuss the Concert Piece, which is a work that presents the vitality of American musical culture in the 1940s and is also quite approachable for young bassoonists. 00:00 1
Phillips, Burrill: Concert Piece /en/lessons/bdp314/#chapter-01-13 Before I discuss the work, I need to mention the historic recording of the composition. Sol Schoenbach was the soloist accompanied by the Philadelphia Orchestra under the direction of Eugene Ormandy. The performance took place April 5-6, 1952 at the Academy of Music in Philadelphia. The recording was made to support the Philadelphia Orchestra’s Pension fund and each principal player was to choose a work by a USA composer to record. Only Schoenbach and flutist William Kincaid chose to do so; the rest recorded older music by European composers. 01:13 2
Phillips, Burrill: Concert Piece /en/lessons/bdp314/#chapter-02-00 Please be aware that the piano arrangement of this work is quite difficult for the accompanist. If you perform the work with a live pianist, be sure find an excellent one! Scott Pool and I have created versions of the work for you to practice with. Here is a screen shot of a page from the Grade 5 collection of works. You can see that I provide MIDI and mp3 files here in versions with string or piano accompaniment. 02:00 3
Phillips, Burrill: Concert Piece /en/lessons/bdp314/#chapter-02-35 The work contains hints of 1930s jazz with its rhythmic vitality and accents. Make certain that the accents in the opening bassoon part are well projected. Here is an excerpt from my 1984 performance of the work. Restrictions from the television station do not allow me to present the entire work. Music: Ewell with Seattle Youth Symphony. 02:35 4
Phillips, Burrill: Concert Piece /en/lessons/bdp314/#chapter-03-15 By the way, in addition to the jazz rhythmic references, this composition features several whole tone scales which give the composition its unique flavor. 03:15 5
Phillips, Burrill: Concert Piece /en/lessons/bdp314/#chapter-03-29 Keep the staccato notes short. This also provides character to the work. Music: Ewell with Seattle Youth Symphony. 03:29 6
Phillips, Burrill: Concert Piece /en/lessons/bdp314/#chapter-03-57 There is an error in the bassoon solo part that needs to be corrected. Five after rehearsal number 7 should be E3 not F3. 03:57 7
Phillips, Burrill: Concert Piece /en/lessons/bdp314/#chapter-04-08 The composition is in ABA form. The A sections of the work, from the beginning to number 8 and from number 10 to the end need to be performed with metrical and rhythmic precision. Practicing with the metronome or accompaniment with a click track will help you to stay with the beat. 04:08 8
Phillips, Burrill: Concert Piece /en/lessons/bdp314/#chapter-04-31 The middle section, the B section, however, should feature some rubato. Be sure to also provide plenty of vibrato as well. Music: Ewell with Seattle Youth Symphony. 04:31 9
Phillips, Burrill: Concert Piece /en/lessons/bdp314/#chapter-05-25 The most technically challenging part of the work occurs in the last three lines of the bassoon part after number 14. For the written-out turns starting on Eb4 I recommend these alternate fingerings for F4. Notice that the little finger key in the left hand is down for all those notes Eb4, F4, and D4 in this turn. Music: Ewell with Seattle Youth Symphony. 05:25 10
Phillips, Burrill: Concert Piece /en/lessons/bdp314/#chapter-06-22 The last run needs to be practiced slowly and with multiple rhythms. The “swing rhythm” long-short-long or short-long-short will not provide the necessary speed needed. Example. 06:22 11
Phillips, Burrill: Concert Piece /en/lessons/bdp314/#chapter-06-45 Instead, patterns of fours and six are more helpful. Example. 06:45 12
Phillips, Burrill: Concert Piece /en/lessons/bdp314/#chapter-07-05 Now, when you practice these be sure to relax your fingers and also drive to the end of them with the air. Example. 07:05 13
Phillips, Burrill: Concert Piece /en/lessons/bdp314/#chapter-07-29 Segments of sprints are very useful as well. Sprints are the name I give to quick groupings of notes in which you play quickly, faster than the performance tempo. Example. 07:29 14
Phillips, Burrill: Concert Piece /en/lessons/bdp314/#chapter-07-50 Well, I hope that you enjoy this work as much I as do. It certainly is one of the treasures in the bassoon solo literature. 07:50 15
Weissenborn: Two Pieces: Arioso and Humoresque /en/lessons/bdp315/ Weissenborn: Two Pieces: Arioso and Humoresque Julius Weissenborn's Two Pieces: Arioso and Humoresque. Terry B. Ewell provides performance and practice suggestions with an introduction to the performance of Romantic music. Bassoon Digital Professor video #315. 2reed.net. Julius Weissenborn's Two Pieces: Arioso and Humoresque. Terry B. Ewell provides performance and practice suggestions with an introduction to the performance of Romantic music. BDP #315, 2reed.net. 0
Weissenborn: Two Pieces: Arioso and Humoresque /en/lessons/bdp315/#chapter-00-00 Music: Weissenborn Humoresque. Welcome to this discussion of two little compositions by Julius Weissenborn. I am Terry Ewell. 00:00 1
Weissenborn: Two Pieces: Arioso and Humoresque /en/lessons/bdp315/#chapter-00-16 When you perform music, it is quite important to understand what period the music is from because this will influence how you perform the work. For instance, compositions from the Baroque period are performed quite differently from those from the Romantic period. These two pieces are from the Romantic period and provide excellent examples for how to approach that style of music. Music from the Romantic period is characterized by open displays of emotion. The emotions are expressed with dynamics, changes of tempos, and phrasing of melodies. 00:16 2
Weissenborn: Two Pieces: Arioso and Humoresque /en/lessons/bdp315/#chapter-00-59 Let's see how these romantic tendencies are expressed in the Arioso. Weissenborn's choice of the title "Arioso" is a reference to song in opera. So, this must be quite lyrical and perhaps you can even picture yourself using the bassoon as your voice. You will need to phrase the melody to climaxes or important arrival points. Musical phrases usually feature first crescendos to the musical goals and then decrescendos away from them. Determining the climax of each gesture or phrase is not always easy, but there are some common tendencies you can keep in mind. 00:59 3
Weissenborn: Two Pieces: Arioso and Humoresque /en/lessons/bdp315/#chapter-01-49 In phrases or gestures, climaxes usually occur halfway or later, often later; on stressed beats, usually downbeats; and sometimes they are given with an appoggiatura. 01:49 4
Weissenborn: Two Pieces: Arioso and Humoresque /en/lessons/bdp315/#chapter-02-16 In addition, the shorter value notes move to longer value notes. Think of little children being attracted to their parents. Consider that notes are not orphans, rather they are families. 02:16 5
Weissenborn: Two Pieces: Arioso and Humoresque /en/lessons/bdp315/#chapter-02-33 The printed music edited by Bernard Garfield provides contradictory indications for phrasing. The dynamics given for the first two gestures do not agree with those in the second two gestures. For the reasons I just gave, I prefer the crescendos in different places. 02:33 6
Weissenborn: Two Pieces: Arioso and Humoresque /en/lessons/bdp315/#chapter-03-28 Here we have the crescendos that I prefer. You can see that they follow in parallel with the crescendos of the third and fourth phrases. These crescendos feature climaxes on the downbeats. There is even a downbeat down here. This phrasing also features appoggiaturas. 03:28 7
Weissenborn: Two Pieces: Arioso and Humoresque /en/lessons/bdp315/#chapter-04-02 Here is the appoggiatura in the second gesture. Here is the appoggiatura in the fourth gesture. An appoggiatura is a dissonance, a non-chord tone on the downbeat that most often resolves downward. Now, this is an extremely important gesture in Common Practice music. That is music from the Baroque period and later and frankly even into the 20th century. This is one of the most expressive devices and one that you need to master if you are going to understand phrasing and musicality. 04:02 8
Weissenborn: Two Pieces: Arioso and Humoresque /en/lessons/bdp315/#chapter-04-42 Here is an example of the little notes going to the bigger notes. Again, this is one of the tendencies in music that we often see. Musicality is usually expressed in this way. 04:42 9
Weissenborn: Two Pieces: Arioso and Humoresque /en/lessons/bdp315/#chapter-05-00 Here is the music again for you to study. Music---opening of Arioso. 05:00 10
Weissenborn: Two Pieces: Arioso and Humoresque /en/lessons/bdp315/#chapter-05-33 Although the Humoresque is not as serious in nature as the Arioso, it is still quite Romantic in style. This composition features flexible tempos. You can also use a bit of rubato to show phrases and gestures as well. For instance, in the first measures of the work it would be appropriate to push forward the tempo slightly in the first two measures and then relax it in the third. "Commodo" means motion, to move, so do not feature static tempos in this piece. 05:33 11
Weissenborn: Two Pieces: Arioso and Humoresque /en/lessons/bdp315/#chapter-06-19 Music---opening of Humoresque. 06:19 12
Weissenborn: Two Pieces: Arioso and Humoresque /en/lessons/bdp315/#chapter-06-26 The animato section starting in measure 17 features tempo variations. The term animato, which means animated, indicates more life and a faster tempo. Later the ritenuto returns the tempo back to the opening speed. Ritenuto means to slow down. Tempo 1, of course, means to start at the same tempo as the opening of the Humoresque. 06:26 13
Weissenborn: Two Pieces: Arioso and Humoresque /en/lessons/bdp315/#chapter-07-01 Music---later portion of Humoresque. 07:01 14
Weissenborn: Two Pieces: Arioso and Humoresque /en/lessons/bdp315/#chapter-07-32 Communication with your accompanist is important in all of these tempo changes. Be sure that you and your accompanist can communicate by gestures to each other while playing the music. 07:32 15
Weissenborn: Two Pieces: Arioso and Humoresque /en/lessons/bdp315/#chapter-07-48 Well, I hope that you enjoy these two little compositions and now you can perform them with confidence! Bye. Music: Weissenborn Humoresque. 07:48 16
Introduction to Orefici's Melodic Studies /en/lessons/bdp325/ Introduction to Orefici's Melodic Studies Introduction to Orefici's Melodic Studies. Terry B. Ewell presents the pedagogical strengths of the studies and discusses why they are one of his favorite collections. BDP #325. www.2reed.net. Introduction to Orefici's Melodic Studies. Terry B. Ewell presents the pedagogical strengths of the studies and discusses why they are one of his favorite collections. BDP #325. www.2reed.net. 0
Introduction to Orefici's Melodic Studies /en/lessons/bdp325/#chapter-00-00 [Music: Orefici Melodic Study #4, performed by Terry B. Ewell] Well, welcome. This is Terry Ewell and I am quite excited to bring to you this new series on the Melodic Studies by Alberto Orefici. This is one of my favorite collections to teach. 00:00 1
Introduction to Orefici's Melodic Studies /en/lessons/bdp325/#chapter-00-33 Now you are probably aware that I have taught the Weissenborn studies over the web. I have put together 55 videos on the 50 Weissenborn Studies. That is a marvelous collection. I appreciate what Weissenborn has given to us. That collection certainly develops well the bassoonist through high school and into early college. Those studies are a wonderful collection of melodies, a wonderful collection of technical issues and things. By the time you have completed those 50 studies you have really had a good foundation in the technique of the bassoon. 00:33 2
Introduction to Orefici's Melodic Studies /en/lessons/bdp325/#chapter-01-13 The Orefici Studies, however, are quite different than the Weissenborn Studies. These twenty studies are all melodic in character. The emphasis is less on technique or technical challenges and more on musical issues. For this reason it takes a bit more maturity to play these than the Weissenborn studies. All be it the Weissenborn Studies certainly at the end are extremely demanding with the high register. But here you have something melodic, something unusual. One of the things I like about this---I have taught for over forty years with private lessons---is that I have never tired of listening to my students play these studies. They are so unusual and in fact refreshing. 01:13 3
Introduction to Orefici's Melodic Studies /en/lessons/bdp325/#chapter-02-10 Now, one of the reasons I love them is that I have a lot of students come to me and study with me at my university and they often do not fluently read the tenor clef. Well, by the time you finish the twenty Orefici Studies you will read tenor clef very well. You will see notes in the tenor clef like low F that you will see no where else in anybody else's studies or the repertoire. So, they are great for gaining a command of the tenor clef. Also, they are wonderful for gaining a command of melody. They are terrific for learning connections of line, rubato, all of that is in these Studies. But they are incredibly beautiful as well. 02:10 4
Introduction to Orefici's Melodic Studies /en/lessons/bdp325/#chapter-03-05 You do not have enough beauty in your life. This is an issue. We live in a world that often confronts us with ugliness, with harsh realities, with confusing situations. I want to bring to you something that is beautiful. I want these studies and my comments on them to be uplifting to your bassoon playing and uplifting to your soul. I want you to feel refreshed when you study these and when you listen to these videos. 03:05 5
Introduction to Orefici's Melodic Studies /en/lessons/bdp325/#chapter-03-46 We know very little about Orefici. He was born in 1868 and died din 1920. This collection of studies was published in 1925, five years after he died. He appears to have been an opera bassoonist and later a professor around Turin, Italy. He may have been a student of Eugene Jancourt. But although we don't have much biographical information, we certainly with these Melodic Studies have an insight into his musical understanding of the bassoon and particularly his love of opera. These studies exude a wonderful sense of Italian opera in yet a very quirky and unusual way that stretches the performer. And that is why I find it so interesting to study this and why I am so excited myself to re-study them, to perform them for you, and to bring this collection to greater light in the world. I don't think that these are played enough. I think that people have neglected this set of studies and I hope that these videos will awaken in you a renewed interest in these studies. 03:46 6
Introduction to Orefici's Melodic Studies /en/lessons/bdp325/#chapter-05-07 Now, I started making these videos in 2019 and will be continuing to do so in 2020 and a little later. Now in 2021 there is a wonderful thing occurring. That is that the Orefici Melodic Studies will become part of public domain. I will publish at that time my edited version of these that will be available for free. You will find them on my website: 2reed.net. [Music: Orefici Melodic Study #4, performed by Terry B. Ewell] 05:07 7
Orefici Melodic Study #1 /en/lessons/bdp326/ Orefici Melodic Study #1 Orefici's Melodic Study #1. Discussion of vibrato and beauty and then concluded with a performance by Terry B. Ewell. BDP #326. www.2reed.net. Orefici's Melodic Study #1. Discussion of vibrato and beauty and then concluded with a performance by Terry B. Ewell. BDP #326. www.2reed.net. 0
Orefici Melodic Study #1 /en/lessons/bdp326/#chapter-00-00 [Music: Orefici's Melodic Study #5, performed by Terry B. Ewell] 00:00 1
Orefici Melodic Study #1 /en/lessons/bdp326/#chapter-00-13 Well, in Orefici Study #1, Mr. Orefici starts off with an almost operatic, vocal line in the opening. This should be a study in vibrato for you with varying your vibrato, with using it to bring out emphasis in the line, with shaping the line. One of my earlier videos, I think it was video #100 "Motion in Music," I actually play this [the opening] for you and I talk about ways in which you can make motion within music. So, I am not going to repeat all that here, you can go back on look at this. I will certainly leave you with the link. But I want you to think about ways in which you can use vibrato both on sustained notes and also on notes that are moving. Sustained notes, for instance, in the opening. [Music] I think that you can hear that I am varying the speed of my vibrato. All of that is part of the expressive gestures that I am making. 00:13 2
Orefici Melodic Study #1 /en/lessons/bdp326/#chapter-01-26 On the second line we have some eighth notes here. One of the things I think is so interesting about the bassoon is that our vibrato technique, our vibrato mechanism is not linked to our fingers. With string instruments, their vibrato mechanism is linked to the fingers and often string players when they move their fingers, they restart their vibrato. Di, di, di... and things like that. We do not need to do that as wind players. You can use vibrato to bring out a new intensity. For instance, take the second line and look at these eighth notes. [Music, no vibrato] See those notes there, I didn't use my vibrato. If I add a little bit of vibrato, you can hear that there is more of a drive, more intensity. [Music, with vibrato] So, you can experiment with that. When you have control of your vibrato, you can work on these things and make these musical types of gestures. 01:26 3
Orefici Melodic Study #1 /en/lessons/bdp326/#chapter-02-44 Well, it is my believe as a Christian is that everything you do is spiritual. Our spirit is bound to our body. Every choice you make, everything you do is spiritual as well. It is difficult to play bassoon well when your spirit is discouraged or frustrated. I want your spirit to be lifted up. I want to you set your mind on things above, not on things on this earth. I want your spirit to be renewed and replenished. So, let me share here one of my favorite verses of the Bible as we conclude here. It is from Ecclesiastes 3:11: He has made everything beautiful in its time. Also he has put eternity in their hearts, except that no one can find out the work that God does from beginning to end. God bless you. 02:44 4
Orefici Melodic Study #1 /en/lessons/bdp326/#chapter-04-09 [Music, Orefici's Melodic Study #1] [Music: Orefici's Melodic Study #5, performed by Terry B. Ewell] 04:09 5
Orefici Melodic Study #2 /en/lessons/bdp327/ Orefici Melodic Study #2 Orefici's Melodic Study #2. Discussion about careful listening. Suggestions for practicing the study with drones, playing on the wind, and breathing by dropping the jaw. It then concludes with a performance by Terry B. Ewell. BDP #327. www.2reed.net. Orefici's Melodic Study #2. Discussion about careful listening. Suggestions for practicing the study with drones, playing on the wind, and breathing by dropping the jaw. It then concludes with a performance by Terry B. Ewell. BDP #327. www.2reed.net. 0
Orefici Melodic Study #2 /en/lessons/bdp327/#chapter-00-00 [Music: Orefici’s Melodic Study #4, performed by Terry B. Ewell] Hello, I am Terry Ewell. Welcome to this video on Orefici’s Study number 2. 00:00 1
Orefici Melodic Study #2 /en/lessons/bdp327/#chapter-00-21 I think a good deal about spiritual things and how they apply to life, how they apply to my attitude towards others, how I play bassoon, etc. One thing that I was thinking about in relation to this study is that Jesus says that people hear without hearing and see without seeing. He was talking about spiritual things. He would speak about certain matters, and they wouldn’t understand the spiritual application. But we do much the same thing when we play bassoon. We hear what we are playing, but at times we are really not listening and attending to it. I am sure guilty of that in my playing. A lot of times I am concentrating on things, and I am missing the intonation. Or there is an attack that is not quite clean that I really didn’t quite hear. Yet I am attending to the music. It is difficult to really, really listen and grasp what you are doing. For instance, take a look at me now. Really closely examine me. Are you seeing that I am wearing a tie that is a tribute to Vincent van Gough? Did you see that? You were looking but maybe you missed that. This is partly what I mean. 00:21 2
Orefici Melodic Study #2 /en/lessons/bdp327/#chapter-02-02 Orefici Study #2 gives you an important entrance into really attending to features on the bassoon. Here is the opening with an E drone. [music] The ending can also be worked well with an E drone. I find that the low E is best in tune by adding the little finger. [music] When I am playing with the drones, I am using my ears to critically listen to the placement of each note in the arpeggio with the reference pitch. This is an important skill to develop that will really help you to play well with others and to better discern what is in tune and what is out of tune. The F#s in this piece are best played with the little finger, the right hand little finger. That F# is lower in pitch than the one with the right-hand thumb. 02:02 3
Orefici Melodic Study #2 /en/lessons/bdp327/#chapter-03-43 Next, carefully listen to the quality of the sound and the fingering work in the very fast passages. [music] That octave leap is often quite slow. So, in needs to be in tempo. [music] I have the metronome set to 120… [music] …making sure that every note is clear and distinct and controlled. In the next line the fingering is also quite tricky. I concentrate so that every note is controlled, in tune, and well centered. I don’t allow a single tone to escape my concentration. I really hear each note when I play them regardless of the speed. This is key to the best accuracy and sound production. [music] I find it particularly difficult coming off the high A with the F#, E, and D#. There are cross fingerings here, forked fingerings. It is also an issue of intonation. [music] Now. 03:43 4
Orefici Melodic Study #2 /en/lessons/bdp327/#chapter-05-23 Let’s work phrase direction. You can still phrase through staccato notes. This is called “playing on the wind.” [music] See, I am using the air to shape the phrase, to shape the dynamics—not the embouchure, not the tongue, or anything like that. Those are used instead for articulation. But I really am shaping this: [music] 05:23 5
Orefici Melodic Study #2 /en/lessons/bdp327/#chapter-06-02 The ending portion of the piece with staccato eighth notes are difficult because you have to sneak in breaths. The quickest breaths can be done by dropping the jaw not raising the head. This is the way I choose to play this at the end. [music] In conclusion, it is too easy to see without 06:02 6
Orefici Melodic Study #2 /en/lessons/bdp327/#chapter-06-39 really perceiving and to hear without truly discerning. Take the time on this study to hone those skills. You will make much more rapid progress on the bassoon, if you fully understand the imperfections in your playing and then address those issues. Goodbye. 06:39 7
Orefici Melodic Study #2 /en/lessons/bdp327/#chapter-07-39 [Performance of Orefici’s Melodic Study #2] [Music: Orefici’s Melodic Study #4, performed by Terry B. Ewell] 07:39 8
Orefici Melodic Study #3 /en/lessons/bdp328/ Orefici Melodic Study #3 Orefici's Melodic Study #3. Discussion about Orefici turning something ugly into a beautiful melody. Performance of the 3rd study by Terry B. Ewell. BDP #328. www.2reed.net. Orefici's Melodic Study #3. Discussion about Orefici turning something ugly into a beautiful melody. Performance of the 3rd study by Terry B. Ewell. BDP #328. www.2reed.net. 0
Orefici Melodic Study #3 /en/lessons/bdp328/#chapter-00-00 Music: Orefici's Melodic Study 5, performed by Terry B. Ewell Well, Orefici's Study 3 is one of my favorites in this collection. I seem to never tire from listening to it because it is so unusual. 00:00 1
Orefici Melodic Study #3 /en/lessons/bdp328/#chapter-00-25 However, for a student who is playing this for the first time it seems like something as foreign as if you dropped in music from Neptune. I must confess that I fully understand this. For instance, take the very first measures, the first phrase. music This is 00:25 2
Orefici Melodic Study #3 /en/lessons/bdp328/#chapter-00-51 not a particularly beautiful collection of notes. We have a melody here which is disjunct, it leaps all over the place. It doesn't even stay in the key signature given here---B flat major. We are not even sure what key it is in quite frankly! It starts on a D (Re) and ends on an E natural (Mi). It is quite confusing. In fact, I would say that it is pretty ugly. 00:51 3
Orefici Melodic Study #3 /en/lessons/bdp328/#chapter-01-28 The genius of Orefici is that he takes something ugly and by the end of the study you think it is one of the most beautiful things that you have ever heard. Again, I think of one of my favority verses, Ecclesiastes 3:11. "He makes everything beautiful in its time." Here Orefici takes the ugly and makes it beautiful be the time we get to the end. 01:28 4
Orefici Melodic Study #3 /en/lessons/bdp328/#chapter-01-58 This melody features delayed resolutions and it has an operatic style and movement to it. 01:58 5
Orefici Melodic Study #3 /en/lessons/bdp328/#chapter-02-07 All of that has to be brought out within basically two dynamics: piano and pianissimo. Now, there are a few crescendos within piano, but never go to forte. This is all done delicately within those dynamics, working with your tone color. Reed making is so important; work on the tip and all of that. This all has to be part of that, 02:07 6
Orefici Melodic Study #3 /en/lessons/bdp328/#chapter-02-34 something beautiful, something that feeds your soul, something that you can enjoy. 02:34 7
Orefici Melodic Study #3 /en/lessons/bdp328/#chapter-03-42 Performance of Orefici's Melodic Study 3 Music: Orefici's Melodic Study 5, performed by Terry B. Ewell 03:42 8
Orefici Melodic Study #4 /en/lessons/bdp329/ Orefici Melodic Study #4 Orefici's Melodic Study #4. Discussion of endurance and strategies for playing longer phrases. Performance of the 4th study by Terry B. Ewell. BDP #328. www.2reed.net. Orefici's Melodic Study #4. Discussion of endurance and strategies for playing longer phrases. Performance of the 4th study by Terry B. Ewell. BDP #328. www.2reed.net. 0
Orefici Melodic Study #4 /en/lessons/bdp329/#chapter-00-00 [Music: Orefici's Melodic Study #5, performed by Terry B. Ewell] Hello, I am Terry Ewell. Welcome to this video on practicing Orefici's Melodic Study number 4. This study reminds me of the verse in Hebrews 12:1 where it says "and let us run with endurance the race that is set before us." 00:00 1
Orefici Melodic Study #4 /en/lessons/bdp329/#chapter-00-35 This study features two parts that are in the same tempo. The A section features moderately fast finger work, which has some technical difficulties. This section also contains a repeat, which challenges the player to fight through oxygen deprivation while seeking accuracy. But the worse part is yet to come! The middle B section features very long phrases with only a few places to breathe. This also is repeated, which further stresses the stamina of the performer. Then the Da Capo repeats the whole A section. 00:35 2
Orefici Melodic Study #4 /en/lessons/bdp329/#chapter-01-20 This study is particularly challenging for women, who in general have two thirds of the vital lung capacity of men of similar age.[1] It is also a challenge for older adults. The average male at age 60 has 15% less available lung capacity than the average male at age 20.[2] I have worked diligently all my life to keep my large lung capacity, but when I perform this now at age 61, I do struggle much more than when I was in my 20s. 01:20 3
Orefici Melodic Study #4 /en/lessons/bdp329/#chapter-02-01 What can you do to increase your endurance? There are several things that will encourage lung flexibility and aerobic fitness. · Aerobic activities such as running, swimming, fast walking, etc. will help performers. · There is some evidence that lung capacity can be expanded by use of the Incentive Spirometer. This is a device that measure inhalation, helping the person to expand their lungs as much as possible. · Practicing long phrases and long tones will also help. There is more information and suggested exercises available in my publication Wind Performer's Guide to Increasing Endurance. This is published on Lulu.[3] 02:01 4
Orefici Melodic Study #4 /en/lessons/bdp329/#chapter-03-00 Of course, there are many places in the Orefici Study #4 where one could use circular breathing. If you are interested in learning this technique you can view some of my videos. However, in this study the purpose is to breathe only where indicated or there are rests. For this reason, I do not circular breathe in my performance of the study. 03:00 5
Orefici Melodic Study #4 /en/lessons/bdp329/#chapter-03-25 Last of all, choose a reed that takes less air to play. A reed with a more closed aperture and a thinner tip will help. 03:25 6
Orefici Melodic Study #4 /en/lessons/bdp329/#chapter-03-38 This study is one of the gems in the collections. I hope that you are able to master it! 03:38 7
Orefici Melodic Study #4 /en/lessons/bdp329/#chapter-03-59 Performance of Music: Orefici's Melodic Study #5 performed by Terry B. Ewell References [1] Charles Herbert Best. Best & Taylor’s Physiological Basis of Medical Practice, 10th edition (Baltimore: Williams & Wilkins Co, 1979), p. 481. [2] http://www.ageworks.com/information_on_aging/changeswithaging/resp.shtml (accessed 04 March 2013) [3] http://www.lulu.com/shop/terry-b-ewell/wind-performers-guide-to-increasing-endurance/ebook/product-20941958.html 03:59 8
Orefici Melodic Study #5 /en/lessons/bdp330/ Orefici Melodic Study #5 Orefici's Melodic Study #5. Discussion of clarity and perplexity. Performance of the 5th study by Terry B. Ewell. BDP #330. www.2reed.net. Orefici's Melodic Study #5. Discussion of clarity and perplexity. Performance of the 5th study by Terry B. Ewell. BDP #330. www.2reed.net. 0
Orefici Melodic Study #5 /en/lessons/bdp330/#chapter-00-00 Music: Orefici's Melodic Study #5, performed by Terry B. Ewell Well, clarity is the word for Orefici Study #5. You want every note to be clear and distinct. 00:00 1
Orefici Melodic Study #5 /en/lessons/bdp330/#chapter-00-22 Of course, you should use the flick keys; all of that should be given. The accents here are ones of emphasis but not harshness. 00:22 2
Orefici Melodic Study #5 /en/lessons/bdp330/#chapter-00-34 This is certainly a spritely type of study. It is a little different than some of the more lyrical studies that we have had before. It does have a contrasting B section, which should be played very melodically and sweetly. 00:34 3
Orefici Melodic Study #5 /en/lessons/bdp330/#chapter-00-49 In addition, before the recapitulation I add a rallentando. This is really necessary to signal to the listener that you are moving back to the material in the beginning. 00:49 4
Orefici Melodic Study #5 /en/lessons/bdp330/#chapter-01-04 One last comment before we go on to the performance of Orefici #5. You know, there are many perplexing things about life. There are things that I don't understand that happen to me. Orefici #5 and indeed even Orefici #6 also have several perplexing things. The explanation I have for Orefici #6, which you will hear in the next video, makes a lot of sense to me. The explanation I have for you for Orefici #5 does not really convince me. He marks this movement Allegretto sostenuto. 01:04 5
Orefici Melodic Study #5 /en/lessons/bdp330/#chapter-01-43 Well, the opening melody doesn't have anything sustained in it much at all. They are all staccato notes. Certainly, the middle section has sustained notes, but it is rather perplexing. I think what he means by Allegretto sostenuto is that you sustain the tempo not that notes. So, keep a consistent tempo through this. But I am a little bit puzzled about that. I am not going to throw out the Orefici studies because I don't understand it. They are so beautiful and even it something is perplexing, that is OK with me. 01:43 6
Orefici Melodic Study #5 /en/lessons/bdp330/#chapter-02-20 It is the same thing with my faith. Things I don't understand come up, but I am not going to throw out all of my faith because I don't understand everything. There is so much beauty there, so much communion with God, that it is all worth it. 02:20 7
Orefici Melodic Study #5 /en/lessons/bdp330/#chapter-02-35 So, enjoy this Orefici Study #5. 02:35 8
Orefici Melodic Study #5 /en/lessons/bdp330/#chapter-03-20 Performance of Orefici's Melodic Study #5 03:20 9
Orefici Melodic Study #6 /en/lessons/bdp331/ Orefici Melodic Study #6 Orefici's Melodic Study #6. Discussion of the hidden melody in this study and the need to play both the melody and accompaniment. It contains a demonstration of how to play Study #6 in an ugly fashion. Performance of the 6th study by Terry B. Ewell. BDP #331. www.2reed.net. Orefici's Melodic Study #6. Discussion of the hidden melody in this study and the need to play both the melody and accompaniment. It contains a demonstration of how to play Study #6 in an ugly fashion. Performance of the 6th study by Terry B. Ewell. BDP #331. www.2reed.net. 0
Orefici Melodic Study #6 /en/lessons/bdp331/#chapter-00-00 Music: Orefici's Melodic Study #5, performed by Terry B. Ewell Well, Study number 6 by Orefici is perhaps the most the most perplexing study in the group of twenty. And you can see that Orefici himself struggles with this particular study. The breath marks here are not for breaths. 00:00 1
Orefici Melodic Study #6 /en/lessons/bdp331/#chapter-00-33 Leonard Sharrow rightly points out that you should breath after the eighth notes not after the sixteenths. The breath marks here rather are indications of four bar phrases. 00:33 2
Orefici Melodic Study #6 /en/lessons/bdp331/#chapter-00-49 Now, I have heard this study played in ways that are truly ugly. For instance, take this reading of the study. music: opening of Study #6 Well, there is very little to commend itself with this type of playing, other than perhaps you get all of the notes. But it is truly ugly. 00:49 3
Orefici Melodic Study #6 /en/lessons/bdp331/#chapter-01-26 We are seeking something beautiful. God makes everything beautiful in His time, and I think that Orefici makes something very beautiful out of this. 01:26 4
Orefici Melodic Study #6 /en/lessons/bdp331/#chapter-01-37 Let's just take the first note of each measure and let's consider that to be a melody. music Now, in that performance I moved some notes around in octaves. But you get the sense that indeed there is a melody shape here; there is a melodic line. Hidden in this study is that melody. 01:37 5
Orefici Melodic Study #6 /en/lessons/bdp331/#chapter-02-32 So, this is the challenge for you as a performer: Be both the soloist, bringing out the melodic line and the accompanist. Those sixteenth notes should be florid and accompanying this beautiful melody. This is truly and interesting challenge. 02:32 6
Orefici Melodic Study #6 /en/lessons/bdp331/#chapter-02-55 This is part of the genius of Orefici in this series of studies. This is a melody so different. This is a melodic challenge so different from all of the rest. As a performer you really have to think about it and you really have to master how you will present that melodic line. 02:55 7
Orefici Melodic Study #6 /en/lessons/bdp331/#chapter-03-42 [Music: Orefici's Melodic Study #5 performed by Terry B. Ewell] 03:42 8
Orefici Melodic Study #7 /en/lessons/bdp332/ Orefici Melodic Study #7 Orefici's Melodic Study #7. Discussion of deciso and tempo markings. Performance of the 7th study by Terry B. Ewell. BDP #332. www.2reed.net. Orefici's Melodic Study #7. Discussion of deciso and tempo markings. Performance of the 7th study by Terry B. Ewell. BDP #332. www.2reed.net. 0
Orefici Melodic Study #7 /en/lessons/bdp332/#chapter-00-00 Music: Orefici's Melodic Study #5, performed by Terry B. Ewell So, just a few comments on Orefici #7. The deciso indication in the opening means that this should be played with stress, with decisiveness, if you want to say. In particular, I make a decisive difference in the accents that are without staccato and the accents with. I make the accents without staccato with longer value notes, full length, and the ones with the staccato shorter in duration. 00:00 1
Orefici Melodic Study #7 /en/lessons/bdp332/#chapter-00-51 The other thing I do, which I think harkens back to Orefici's operatic style and the culture of that time, is found in line four. Here the forte poco rit. I play at a slower tempo. Unfortunately he has this marking and I don't think it is a ritardando that he was after that is gradually slower and slower. I think that really he meant this to be a slower tempo. That makes more sense at this forte place. Then he has a tempo, which certainly comes back to the opening tempo. 00:51 2
Orefici Melodic Study #7 /en/lessons/bdp332/#chapter-01-36 Let me leave you with this word of encouragement before you hear the performance of the Orefici seventh study. These are some words from the Apostle Paul. Finally, brethren, whatever things are true, whatever things are noble, whatever things are just, whatever things are pure, whatever things are lovely, whatever things are of good report, if there is any virtue and if there is anything praiseworthy---meditate on these things. 01:36 3
Orefici Melodic Study #7 /en/lessons/bdp332/#chapter-02-22 [Music: Orefici's Melodic Study #5 performed by Terry B. Ewell] 02:22 4
Orefici Melodic Study #8 Teaching /en/lessons/bdp333/ Orefici Melodic Study #8 Teaching Orefici's Melodic Study #8. Discussion of context, purpose, direction, and relationships in music and life. Story of the B flat note and application to living. By Terry B. Ewell. BDP #333. www.2reed.net. Orefici's Melodic Study #8. Discussion of context, purpose, direction, and relationships in music and life. Story of the B flat note and application to living. By Terry B. Ewell. BDP #333. www.2reed.net. 0
Orefici Melodic Study #8 Teaching /en/lessons/bdp333/#chapter-00-00 Music: Orefici's Melodic Study #5, performed by Terry B. Ewell Alert Sound: https://freesound.org/people/Kinoton/sounds/350508/ Warning, warning, danger, danger! This video contains the application of music as a metaphor for life. Be prepared for a lengthy study of opening of the etude and then applications for living. If you can't handle that, then just proceed to the next video with the performance of Orefici Melodic Study #8. 00:00 1
Orefici Melodic Study #8 Teaching /en/lessons/bdp333/#chapter-00-44 I want you to imagine that you are a B flat note. Now, you have been brought into this world as a B flat note and you really don't know much about your purpose as a B flat note, your position as a B flat note, and how you relate to others as a B flat note. In fact, right now as a B flat note you don't even know if you are a low B flat on the bassoon or a high B flat. You don't know which octave of B flat you are. You don't know if you are in a symphony or in an Orefici study. You are just simply a B flat note. 00:44 2
Orefici Melodic Study #8 Teaching /en/lessons/bdp333/#chapter-01-23 We are going to start looking now at context and purpose and ending and all of that. And this is a great study, because it is all about goals, all about context, all about understanding. 01:23 3
Orefici Melodic Study #8 Teaching /en/lessons/bdp333/#chapter-01-44 Well, here is the music for the opening of the Orefici Study. We can see that the key of the study is in Bb major so as a Bb note you are probably thinking, "Well, this is wonderful. I am the most important note in the piece. The key signature is even named after me!" Too often we deceive ourselves and think we are of the most importance, however, Orefici educates us in the opening that B flat is not a note of focus in the beginning. So, here you are, you are a B flat. [music] You think, "How disappointing! I am a B flat and there are no B flats yet in this piece. What is going on? I haven't even appeared yet." 01:44 4
Orefici Melodic Study #8 Teaching /en/lessons/bdp333/#chapter-03-12 Let's go to the next phrase. [music] Ah, we have two B flats. These B flats, however, function in different ways. The first B flat is not rhythmically emphasized. It tends to be that smaller notes move toward the longer notes and metrical emphasis. That is, where the note appears in the measure is very important. [music] That second B flat is a little more important than the first B flat and therefore that first B flat needs to move toward the second. Let's go on. [music] There is another B flat that is in [music] this scale ascending. The context is that the B flat in relation to the other notes is part of a scale, part of a melody, but it is not prominent. It is not the goal. That B flat is not the goal. [music] So, the opening of this Orefici study contains 03:12 5
Orefici Melodic Study #8 Teaching /en/lessons/bdp333/#chapter-04-38 several gestures. Let's call a gesture a two-measure grouping. These group to phrases---let's call those phrases four measures. Then the phrases go to periods of eight measures. Each of these is hierarchically arranged, strategically arranged. There is a goal, a direction, there is a telos to all of this. There is a movement to this. music with demonstration of goals, telos 04:38 6
Orefici Melodic Study #8 Teaching /en/lessons/bdp333/#chapter-05-22 In each of these there is a pairing of notes. Here is have reduced the melody to simple pairings. We expect it then to go: [music] to end on a B flat. But, oh, Orefici doesn't do that! Instead, he maneuvers around the B flat. This prominent B flat, this B flat should be so emphasized is hidden and not yet revealed. [Music] Those B flats are passing. We have an appoggiatura above what should be a B flat [music]. There would be a B flat but instead [music] there is an appoggiatura, a delay with emphasis going to the next B flat. [Music] This ends that first phrase, the other gesture. We still haven't arrived on the B flat. And what happens? He doesn't take us to [music] ... he doesn't take us to the ending, the telos, the goal of this whole thing, instead [music] it sweeps back up to the F and then we have to do it all again. [music] So far it is like the beginning and then we depart a little bit. [music] We get a lot of B flats, but they are not rhythmically stressed on the downbeat. This is not yet the ending, this is not the telos that we are looking for. 05:22 7
Orefici Melodic Study #8 Teaching /en/lessons/bdp333/#chapter-07-27 [music] Ah, there it is. There is that B flat that has been the goal of all that has gone on before, all the has happened before leads to this B flat. Are we done yet? No. That B flat, even though it is a completion of all that has come before is yet a premonition of the fulfilled ending. It is just a part of that fulfilled ending in the piece. 07:27 8
Orefici Melodic Study #8 Teaching /en/lessons/bdp333/#chapter-08-11 We find in the Hebrew Scriptures, Ecclesiastes 3:11---my favorite verse, that is says there that no one can find out what God does from beginning to the end. You are here, this poor little B flat and you don't know the beginning and the ending of your composition. You are just a part of it, you are just a part of it in some way. But that part is very important. If you were to leave out that B flat there would be a hole in the composition. It is needed. Whether that B flat is a little grace note; that B flat is a harmonic support for others so that others can be in the limelight, the melody; or that B flat is part of the ending. This is the marvelous thing we see here in the Orefici study. This telos, this direction from beginning to end. You as a performer need to communicate how all of that works so that every note is part of that purpose, is part of the ending. Every note has a place to belong. Every note speaks at its time for what is great in this composition. 08:11 9
Orefici Melodic Study #8 Teaching /en/lessons/bdp333/#chapter-09-29 Likewise, in your life you have a place. You have a place in that eternal plan and you are valued as a note. I don't want to leave out a B flat here and likewiseI want you to fulfill your life and purpose. Music: Orefici's Melodic Study #5 performed by Terry B. Ewell 09:29 10
Performance of Orefici's Melodic Study #8 /en/lessons/bdp334/ Performance of Orefici's Melodic Study #8 Performance of Orefici's Melodic Study #8. Terry B. Ewell. BDP #334. www.2reed.net. Performance of Orefici's Melodic Study #8. Terry B. Ewell. BDP #334. www.2reed.net. 0
Orefici Melodic Study #9 /en/lessons/bdp335/ Orefici Melodic Study #9 Orefici's Melodic Study #9. Discussion of inner strength and difficulties in life and this etude. By Terry B. Ewell. BDP #335. www.2reed.net. Orefici's Melodic Study #9. Discussion of inner strength and difficulties in life and this etude. By Terry B. Ewell. BDP #335. www.2reed.net. 0
Orefici Melodic Study #9 /en/lessons/bdp335/#chapter-00-00 Music: Orefici's Melodic Study #5, performed by Terry B. Ewell Welcome, I am Terry Ewell. This video is being made during the height of the COVID-19 crisis in the USA. I am grateful to have access to this hall and frankly I haven't seen anyone else coming to Towson University. I set up all of the equipment be myself and so I haven't had interaction with anyone. Thank you, Towson, for allowing me to have access to be able to continue this series at this time. 00:00 1
Orefici Melodic Study #9 /en/lessons/bdp335/#chapter-00-49 This is a time when as musicians we need to be strengthened in our lives. We need to be strengthened musically. We need to be strengthened physically. We need to be strengthened spiritually. 00:49 2
Orefici Melodic Study #9 /en/lessons/bdp335/#chapter-01-03 The Bible presents in Ephesians 3:16 this prayer to God that He would grant according to the riches of His glory to be strengthened with the might of His Spirit in the inner man. That is really my prayer for you as well: that you would be strengthened. 01:03 3
Orefici Melodic Study #9 /en/lessons/bdp335/#chapter-01-24 Take those steps disciples of music, as disciples of spiritual things, as disciples of physical things. We need to exercise. So, I have been conscious of continuing my physical exercises, my Bible readings, my prayers, and my practicing so that I continue to develop in all of these areas of my life that I consider so dear and so important. 01:24 4
Orefici Melodic Study #9 /en/lessons/bdp335/#chapter-01-52 Orefici study #9 requires a lot of strength. The dynamic differences between pianissimo and forte are great here. I am also trying to do here some different changes of my vibrato and some subtle changes of tone color. I am hoping that this will come through in the performance. So here you have Orefici study #9. 01:52 5
Orefici Melodic Study #9 /en/lessons/bdp335/#chapter-05-48 Music: Orefici Melodic Study #9 05:48 6
Orefici Melodic Study #10 /en/lessons/bdp337/ Orefici Melodic Study #10 Orefici's Melodic Study #10. Playing with joy. Performance by Terry B. Ewell. BDP #337. www.2reed.net. Orefici's Melodic Study #10. Playing with joy. Performance by Terry B. Ewell. BDP #337. www.2reed.net. 0
Orefici Melodic Study #10 /en/lessons/bdp337/#transcript-01 Music: Orefici's Melodic Study #5, performed by Terry B. Ewell 1
Orefici Melodic Study #10 /en/lessons/bdp337/#transcript-02 Phillipians 4:4 says "Rejoice in the Lord always and again I say rejoice!" This is one of the happiest of all of the Orefici Melodic Studies. Play it with great joy in your heart. Just be glad that you are a musician, having the chance to perform this wonderful study. Here is Orefici #10. 2
Orefici Melodic Study #10 /en/lessons/bdp337/#transcript-03 Music: Orefici Melodic Study #10 3
Orefici Melodic Study #10 /en/lessons/bdp337/#transcript-04 Music: Orefici's Melodic Study #5 performed by Terry B. Ewell 4
Who Should Play Bassoon? /en/lessons/bdp341/ Who Should Play Bassoon? Discussion of the challenges and advantages of playing bassoon by Terry B. Ewell. This is a remake of BDP #24. Discussion of the challenges and advantages of playing bassoon by Terry B. Ewell. This is a remake of BDP #24. 0
Who Should Play Bassoon? /en/lessons/bdp341/#chapter-00-00 1. Welcome, this is Terry Ewell and I am going to devote this video to talking about my favorite instrument—the bassoon. I wish that everyone had the chance to play this marvelous instrument, but unfortunately not all are suited for the instrument or the instrument for them. 00:00 1
Who Should Play Bassoon? /en/lessons/bdp341/#chapter-00-37 2. Now the fact that you are watching this video indicates that your personality might be well suited to the bassoon. I have noticed over the years that students who choose the bassoon are usually independent thinkers, willing to be different, and interested in unusual challenges. Bassoonists are a bit quirky and generally enjoy the unusual. If that describes you, then you have found a great instrument. 00:37 2
Who Should Play Bassoon? /en/lessons/bdp341/#chapter-01-10 3. However, an interest in the instrument is just not enough for compatibility. I want to make sure that you know if the instrument is a good fit for you. Now, this video is produced for distribution in four world languages. Sorry, if I don’t adequately or accurately cover all of the considerations you need in your location or culture for deciding whether to study bassoon. However, I hope to help you along with that decision with my following comments. As I see it, there are two challenges and three advantages to playing the bassoon. Challenge 1—Finger Length 01:10 3
Who Should Play Bassoon? /en/lessons/bdp341/#chapter-01-52 4. In general, the bassoon requires a larger hand than other instruments. Let give you the key tests to see if your hand fits the instruments well. In the left hand cover the third hole (often called the C hole) and then reach for the speaker keys otherwise known as the flick keys. You should be able to reach these comfortably. 01:52 4
Who Should Play Bassoon? /en/lessons/bdp341/#chapter-02-18 5. If that reach is uncomfortable there is fortunately a solution that might be helpful. Some bassoons—particularly student models—have an extra key to cover the C hole. This helps with the reach. 02:18 5
Who Should Play Bassoon? /en/lessons/bdp341/#chapter-02-36 6. Now, in the right hand test out your ability to reach the little finger F# key. This reach is often not a problem particularly if you play without a crutch or hand rest. 02:36 6
Who Should Play Bassoon? /en/lessons/bdp341/#chapter-02-53 7. In Australia and Europe some younger students are taught first on a mini bassoon also called a “Tiger Bassoon.” This instrument can be a first step for children to play the bassoon until their hands grow bigger. Challenge 2—Cost 02:53 7
Who Should Play Bassoon? /en/lessons/bdp341/#chapter-03-09 8. The second challenge for the instrument is its cost. Student model bassoons typically cost ten to fifteen times as much as student clarinets, four to five times as much as student flutes, and twice as much as student oboes. You will have to consider carefully how to obtain a bassoon: whether one is available on loan from a school or whether one needs to be purchased. 03:09 8
Who Should Play Bassoon? /en/lessons/bdp341/#chapter-03-42 9. I caution you here against the purchase of a cheap bassoon that has poor intonation and other problems. Starting on a bad instrument is a disastrous situation for a young student. This will discourage even the most diligent student. I urge you to compare carefully the bassoon you are considering purchasing with those produced by the Fox Corporation. 03:42 9
Who Should Play Bassoon? /en/lessons/bdp341/#chapter-04-09 10. The Fox Corporation does not sponsor me, and I have always been reluctant to promote one bassoon maker over another. But in this case, there are so many poor, cheap bassoons on the market that I need to caution you to take the time to make comparisons. The Fox or Renard bassoons really set the industry standard. Renard is the name used by the Fox Corporation for their student model bassoons. 04:09 10
Who Should Play Bassoon? /en/lessons/bdp341/#chapter-04-43 11. The cost of instrument is not the only consideration, however. A bassoon reed will cost about ten times as much as a clarinet reed and most often more than an oboe reed. This cost must also be factored into your decision. 04:43 11
Who Should Play Bassoon? /en/lessons/bdp341/#chapter-05-02 12. Well, that said I now want to talk about the many advantages of playing the bassoon. Advantage 1—2reed.net and losfagotistas.com.ar 05:02 12
Who Should Play Bassoon? /en/lessons/bdp341/#chapter-05-10 13. First of all, I have made it a very important part of my life to furnish free educational around the world. I am trying to bring down the cost of education for bassoonists. If you make use of 2reed.net you can reduce expenses for purchasing music, music instruction, and paying to practice with accompanists. There are thousands of free materials and videos on my website. I have created these materials over forty years. In particular I want to point out that my online curriculum begins with this video and progresses through every level of bassoon instruction even to items of interest for graduate students in universities. 05:10 13
Who Should Play Bassoon? /en/lessons/bdp341/#chapter-06-03 14. For those listening to this video in Spanish, I also want to alert you to the marvelous website by Los Fagotistas. This site, hosted by Carlos Arias Sanchez, provides free materials from numerous bassoon teachers and artists. Advantage 2—Performing with Dental Braces 06:03 14
Who Should Play Bassoon? /en/lessons/bdp341/#chapter-06-25 15. The second advantage for those with dental braces or dental hardware and wires. The bassoon embouchure is quite forgiving and does not place the same pressure on the front teeth as found with brass instruments or single reed instruments. Dental braces make it particularly difficult to play the flute, but this is far less on issue on the bassoon. Advantage 3—Rarity of the Instrument 06:25 15
Who Should Play Bassoon? /en/lessons/bdp341/#chapter-06-57 16. The last advantage is the rarity of the instrument. This means that a promising student on the instrument will have more opportunities in ensembles and gain more performance experience. It is a great instrument for amateur adults as well. Every woodwind quintet needs as many bassoonists as flutists, but because there are so fewer bassoonists there are many more opportunities to play and perform in groups. 06:57 16
Who Should Play Bassoon? /en/lessons/bdp341/#chapter-07-29 17. Well, I hope that this has been helpful to you. I would be so happy if you decide to play my favorite instrument. I have enjoyed playing it since I was eight years old and now fifty-five years later, I am still excited to get my hands on this wonderful, wonderful instrument, the bassoon. Bye. 07:29 17
Study #15 /en/lessons/bdp39/ Study #15 Performance of Weissenborn Opus 8/2, Study #15 by Terry B. Ewell. Video performance of Weissenborn Opus 8/2, Study #15 by Terry B. Ewell. Bassoon Digital Professor BDP #39. www.2reed.net 0
Performance Suggestions for Weissenborn Bassoon Study #15 /en/lessons/bdp40/ Performance Suggestions for Weissenborn Bassoon Study #15 Tempo and performance suggestions for Weissenborn Opus 8/2, Study #15 by Terry B. Ewell. Comments on the popular All-State Competition Etude from Weissenborn Op. 8, Vol. 2. Bassoon Digital Professor BDP #40. www.2reed.net 0
Performance Suggestions for Weissenborn Bassoon Study #15 /en/lessons/bdp40/#chapter-00-14 0:00:00.280,0:00:14.000 Welcome. 0:00:14.000,0:00:46.000 This video will give you some tempo and performance suggestions for the fifteenth study in the Weissenborn, Opus 8 number 2. And this is one of the most popular studies. It appears quite often in all-state auditions as well as all-county auditions (USA). I know if you're like me, you enjoy this study very much. So, we will be discussing tempo and performance suggestions and also talk about creating a storyline to the music. 0:00:46.000,0:00:59.000 I have recorded this study and you can find it at 2reed.net or you can also find it on YouTube. You might find this helpful as you are studying this as well. 0:00:59.000,0:01:46.000 So, let's look at the opening a little bit. Notice that it is marked Lento, which means slow, and he gives the instructions a piacere, which means at your pleasure or with freedom. This is an opening introduction that should be played very freely. You should allow plenty of time to express yourself. In particular, there is a cadenza section to this where you have a number of sixteenth notes that start out slowly, gradually get faster and faster (that's what the stringendo means), and at the end should slow down. To do this artistically you need to practice this very carefully. I suggest using different rhythms for the sixteenth notes and practicing them slowly as well. 0:01:46.000,0:02:04.000 When you get to the Andante don't take this too slowly. It is still Andante, which means a walking tempo, and you certainly need to be expressive (it says espressivo), so allow yourself to shape the phrases. 0:02:04.000,0:02:36.000 The next section is Allegro Scherzando and this is often performed too fast. The Allegro Scherzando refers to the quarter-note beat, not to an entire measure. So you need to take a tempo that takes into account that there are three beats in the measure. Allegro means rapid and fast, but there still need to be three beats within that rapid tempo. 0:02:36.000,0:03:24.000 The one puzzling feature I do find in this particular etude is where it's marked tranquillo, which doesn't seem very tranquil at all. You've got these leaps, this exchange between forte and piano. What I suggest you might do is pull back on the tempo a little bit. Perhaps use less articulation, less tongue on each note, making it just a little more fluid and legato. That might give it more of the tranquillo feel. Again, aim for accuracy, play with a beautiful tone, play in tune, play in time, and I'm sure you will do well on the audition. 0:03:24.000,0:04:45.000 One thing that I found helpful is to sometimes create story lines for music. This is a helpful way to think through new ways of expressing the music. Sometimes, if you can picture a story or events happening, this may help you better express your musical talents and improve your musicianship. Try different stories and different ideas. Here's a fun little story I've used for years with students, and I think you might enjoy it as well. Thanks. 00:14 1
Performance Suggestions for Weissenborn Bassoon Study #15 /en/lessons/bdp40/#chapter-00-47 Previous Performance Video 00:47 2
Performance Suggestions for Weissenborn Bassoon Study #15 /en/lessons/bdp40/#chapter-00-59 The Lento Introduction 00:59 3
Performance Suggestions for Weissenborn Bassoon Study #15 /en/lessons/bdp40/#chapter-01-46 The Andante 01:46 4
Performance Suggestions for Weissenborn Bassoon Study #15 /en/lessons/bdp40/#chapter-02-04 Allegro Scherzando 02:04 5
Performance Suggestions for Weissenborn Bassoon Study #15 /en/lessons/bdp40/#chapter-02-36 Tranquillo 02:36 6
Performance Suggestions for Weissenborn Bassoon Study #15 /en/lessons/bdp40/#chapter-03-24 Creating a Storyline 03:24 7
Flight of the Bumblebee /en/lessons/bdp41/ Flight of the Bumblebee Performance of Ewell's arrangement of Rimsky-Korsakov's “Flight of the Bumblebee.” “Flight of the Bumblebee” is from The Tale of Tsar Saltan. Terry B. Ewell, Bassoon Digital Professor video #41. 0
Counting Long Rests /en/lessons/bdp43/ Counting Long Rests Terry Ewell's counting system for rests in music. This is apparently based on Chisenbop--thanks to Stephen Koo and Martin Brown for pointing this out. Bassoon Digital Professor video #43. www.2reed.net. Terry Ewell's counting system for rests in music. This is apparently based on "Chisenbop"--thanks to Stephen Koo and Martin Brown for pointing this out. Bassoon Digital Professor video #43. www.2reed.net. 0
Counting Long Rests /en/lessons/bdp43/#chapter-00-00 Music: Flight of the Bumblebee, opening. 14 two three four 15... it is so beautiful... my solo is over. Oh, no! I lost the count. I can't believe that I did that again. Oh, no, what am I going to do now? I don't know where I am. I don't know where I am. Help! 00:00 1
Counting Long Rests /en/lessons/bdp43/#chapter-00-54 Well, if you are an experienced musician, you have probably had this situation happen to you. Maybe your solo is over in the symphony, you start to relax, you have a number of measures to count, and the music is just gorgeous around you. You are just listening a little bit and counting away and suddenly you lose count. 00:54 2
Counting Long Rests /en/lessons/bdp43/#chapter-01-20 This video will provide you with a method that I have used for many years. I discovered this method when I was an undergraduate at University and I have used it over and over again. It has saved me many times. 01:20 3
Counting Long Rests /en/lessons/bdp43/#chapter-01-32 One of the most harrowing experiences I had counting measures was when I was called upon to play the tam tam in the Mahler 1st Symphony. Being in the back of the percussion section and counting measures of rests in the 70s and 80s was really difficult. Fortunately with my counting method I didn't miss a single measure of rests. So, I will demonstrate that to you now. 01:32 4
Counting Long Rests /en/lessons/bdp43/#chapter-02-01 Most people, when they count rests, either use their mind or the fingers 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 and then you run out of fingers. If you have a large rest, you are in trouble. Maybe you need your toes as well! After 20, you have run out of digits. 02:01 5
Counting Long Rests /en/lessons/bdp43/#chapter-02-16 My system assigns different values with the fingers. So, in the right hand, each of the fingers here has a value of one. The thumb has a value of 5. Each of the fingers in the left hand have values of 10 and the thumb has a value of 50. 02:16 6
Counting Long Rests /en/lessons/bdp43/#chapter-02-38 Slowly this is how I would count. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20. You can see that I have a lot of fingers still left to use in this counting system. 02:38 7
Counting Long Rests /en/lessons/bdp43/#chapter-03-13 For instance, 52, 74, 75, 76, 77, 78, 79, 80. This system will work all the way up to 99, where all of the fingers are open. 03:13 8
Counting Long Rests /en/lessons/bdp43/#chapter-03-37 You can count quietly in your lap. You can count by fingering your instrument. This was I find: that even if my mind wanders off, I have trained my fingers to keep counting. They just keep progressing on. 03:37 9
Counting Long Rests /en/lessons/bdp43/#chapter-03-55 I hope you find this useful. God bless you. Give Him thanks today. Music: Flight of the Bumblebee, ending. 03:55 10
Playing On the Wind /en/lessons/bdp56/ Playing On the Wind Terry B. Ewell discusses and demonstrates the term "playing on the wind." Bassoon Digital Professor video #56. www.2reed.net. Terry B. Ewell discusses and demonstrates the term "playing on the wind." Bassoon Digital Professor video #56. www.2reed.net. 0
Playing On the Wind /en/lessons/bdp56/#chapter-00-00 Music: Flight of the Bumblebee Double reeds are wind instruments and naturally the use of the air is pivotal to their playing. But more important than using the air to get out sound is that double reed players need to use the air for musicality and phrasing. The shaping of phrases in music on the double reeds depends upon the controlled application of air. This is something that double reed players need to practice and need to carefully consider. 00:00 1
Playing On the Wind /en/lessons/bdp56/#chapter-00-52 The term "playing on the wind" refers often to phrasing that occurs even when there are tongued notes or there are articulations, tonguing notes. These phrases often feature a crescendo and diminuendo. There may be rests or spaces in the music but this doesn't mean that the music is interrupted. Too often players restart the air flow with each tongued note. This results in disjointed 00:52 2
Playing On the Wind /en/lessons/bdp56/#chapter-01-17 approaches to phrasing. Each note is given its own crescendo and diminuendo. Let me demonstrate. music on bassoon Notice that each note was individually shaped with its own crescendo and diminuendo and there was movement in my jaw. Playing on the wind, however, is quite different. The wind shapes the larger phrase, not each note. Each note is 01:17 3
Playing On the Wind /en/lessons/bdp56/#chapter-01-52 articulated with the tongue, not with movement of the jaw. Changes in dynamics come from a single, sustained movement of air rather than the air being re-engaged with each note. For instance, here is playing on the wind. music: opening from Orefici 2 01:52 4
Playing On the Wind /en/lessons/bdp56/#chapter-02-17 When I am stopping the note with the tongue, and I stop with a way that is not too abrupt, I am still continuing the air pressure. There is one continuous motion of the air, one arc or shape given with the air here. Here is an application of playing on the wind in Orefici's 20 Melodic Studies for Bassoon. This is the start of the second study. I start by increasing the air on the second beat, through the third beat, into the fourth beat, 02:17 5
Playing On the Wind /en/lessons/bdp56/#chapter-02-54 with the arrival on the downbeat of the second measure. So this is one continuous motion of the air with a crescendo to the downbeat and then a decrescendo after that downbeat. Here is how it sounds when playing on the wind. music: opening from Orefici 2 Notice that chewing each note, moving the jaw, would hinder the sound. Now 02:54 6
Playing On the Wind /en/lessons/bdp56/#chapter-03-24 I am going to try to chew each note. excerpt from Orefici 2 played on bassoon played with jaw motion I don't know if you could notice the motion in my jaw there. Playing on the wind more effectively phrases the 03:24 7
Playing On the Wind /en/lessons/bdp56/#chapter-03-42 music and gives a sense of motion in the music. music: opening from Orefici 2 Once again, I am stopping each note with the tongue, 03:42 8
Playing On the Wind /en/lessons/bdp56/#chapter-03-55 but in such that it is not an abrupt stop. So in summary, playing on the wind forces the air flow from the lungs in one motion. Articulation by the tongue should not influence that motion at all. It should still be one phrase, one motion with the air. I hope that this has been helpful for you. Music: Flight of the Bumblebee, ending 03:55 9
Symmetry, Aesthetics, and Phrasing in Music /en/lessons/bdp57/ Symmetry, Aesthetics, and Phrasing in Music Terry B. Ewell discusses and demonstrates principals of phrasing as drawn from symmetries and aesthetics in nature. Bassoon Digital Professor video #57. www.2reed.net. Terry B. Ewell discusses and demonstrates principals of phrasing as drawn from symmetries and aesthetics in nature. Bassoon Digital Professor video #57. www.2reed.net. 0
Symmetry, Aesthetics, and Phrasing in Music /en/lessons/bdp57/#chapter-00-00 Music: Flight of the Bumblebee 00:00 1
Symmetry, Aesthetics, and Phrasing in Music /en/lessons/bdp57/#chapter-00-19 We live in a world of order and symmetry, one of of aesthetic curves, arcs, and parabolas. The planets orbit around the sun and the moons around the planets in predictable paths. Even when scientists can't see the entire orbit, they can nonetheless calculate where the planet or moon will be at a given time. Balls thrown into the air will have a certain arc to them due to gravity. If it weren't so then baseball and football players wouldn't be able to catch fly balls or touchdown passes. Even if a segment of the path is obscured (for instance, if the player blinks) it is easy to predict where the object will reappear. There is inevitability from when the ball is released, to its flight path, and then to its final place of landing. 00:19 2
Symmetry, Aesthetics, and Phrasing in Music /en/lessons/bdp57/#chapter-01-24 Seashells, pine cones, and tree branches also exhibit wonderful aesthetic symmetries. The nautilus shape of a shell starts with the smallest form in the middle and then increases in size proportionally. It shouldn't be surprising then that symmetries, arcs, curves, and proportions are also found in music. Joseph Robinson, the former Principal Oboist of the 01:24 3
Symmetry, Aesthetics, and Phrasing in Music /en/lessons/bdp57/#chapter-01-50 New York Philharmonic, states that "Music is sculptured sound." The task of the musician then is to bring the same sense of order and inevitability that is found in nature and also in many visual art works to the aural experience of the listener. Listeners should be able to understand where the music is going and when the arrival points are reached. Metrical proportion and subdivision are important for the shaping of musical phrases. Rubato, that is the gradual speeding up and slowing down of the tempo of music, should be applied with 01:50 4
Symmetry, Aesthetics, and Phrasing in Music /en/lessons/bdp57/#chapter-02-32 the same care and sense of proportion that one sees in planetary orbits or in the flight path of a ball. A sudden change in proportion will make the resulting phrase ending unpredictable. Marcel Tabuteau, who was the famous pedagogue of the Curtis Institute of Music in Philadelphia, used to carry a ball with him. This would remind him of the motions produced when a ball is thrown or bounced. My view is that there is a Creator to all we see and that this Creator has endued this creation with a sense of order, unity, and harmony. I as a musician am creating my own sound world 02:32 5
Symmetry, Aesthetics, and Phrasing in Music /en/lessons/bdp57/#chapter-03-22 where I want to project to my listener the sense of harmony, order, inevitability, tension, release, and climax in the music. Let me give an example of how proportion and subdivision can be applied to music. This is the opening of the first of Orefici's 20 Melodic Studies. Many of the phrases in this study will benefit from well applied rubato. Rubato is always best applied by hearing subdivisions so that the melody is proportionally shaped. 03:22 6
Symmetry, Aesthetics, and Phrasing in Music /en/lessons/bdp57/#chapter-04-09 I am going to play the opening of this and I am going to tongue eighth notes so that you can hear so that you can hear the subdivisions that I am hearing internally and that I am then going to project as the shape. music: Orefici #1 I think that you could hear that the tempo at which the subdivisions were played gradually sped up to the downbeat of the second measure. There is a sense of motion, a sense of moving forward. As a car goes down a hill you have a sense of motion and arrival. 04:09 7
Symmetry, Aesthetics, and Phrasing in Music /en/lessons/bdp57/#chapter-04-52 As you arrive at the base of that hill though and you start going back up, then the motion of the car proportionally slows down. I am trying to duplicate that sense of motion and inevitability that one might feel in a car or a roller coaster in the musical phrase that I have here. You also, with this increase and decrease in tempo, have a sense that the music breathes. Tension mounts as the tempo increases and the tension s released as the tempo slows down. The eighth notes were very carefully proportioned in this spacing. As they 04:52 8
Symmetry, Aesthetics, and Phrasing in Music /en/lessons/bdp57/#chapter-05-35 approached the climax they were proportionally closer. Then the spacing becomes further apart. Let me play that for you one more time. music: Orefici #1 I have just given to you the analogy of the car, the other analogy to think about it the rotation of a planet around the sun. The planet accelerates as it comes to the closest point to the sun, the perigee, and then it decelerates as it goes further. 05:35 9
Symmetry, Aesthetics, and Phrasing in Music /en/lessons/bdp57/#chapter-06-21 Here is that example one more time for you. This time without the tonguing. music: Orefici #1 All the while I am still hearing the subdivisions so that it is proportional during the phrase. 06:21 10
Symmetry, Aesthetics, and Phrasing in Music /en/lessons/bdp57/#chapter-06-45 Thank you for listening to this video. I hope it has helped you reflect upon music and how music can aesthetically reflect what is seen in nature, what is seen in our world at this time. Thank you very much. Bye. Music: Flight of the Bumblebee, ending 06:45 11
Alternative F# Key /en/lessons/bdp63/ Alternative F# Key Terry B. Ewell demonstrates the use of the alternate F sharp key. Bassoon Digital Professor video #63, www.2reed.net. Terry B. Ewell demonstrates the use of the alternate F sharp key. Bassoon Digital Professor video #63, www.2reed.net. 0
Alternative F# Key /en/lessons/bdp63/#chapter-00-00 Music: "Flight of the Bumblebee". Welcome, this is Terry Ewell and this short video I will be presenting the alternate F sharp key on the bassoon. This is a key that is often neglected by beginners but really is quite useful particularly for intermediate to advanced player. 00:00 1
Alternative F# Key /en/lessons/bdp63/#chapter-00-38 There are three reasons for using this alternate F sharp key. The first is to smoothly transition from F sharp 2 or F sharp 3 to an other note that uses the right hand thumb for the fingering. In addition, it is absolutely essential for speed of motion between notes using F sharp and the right hand thumb. And last of all, many players use the alternate F sharp to tune the F sharp 3, that is the F sharp above open F, because this note tends to be little sharp. The alternate F sharp fingering is one that is just slightly lower pitch. 00:38 2
Alternative F# Key /en/lessons/bdp63/#chapter-01-25 Let's talk about proper use of the key. First off, this is the alternate F sharp key. It's that key that is set above the F key here. I ask you to get out your bassoon and test this out for yourself. If you press down on the key here---further up---it is really quite difficult to depress the key. If you press, however, at the edge here, it's much easier. This is a lever. Obviously at the end of a lever it's going to require less effort to move the key. So this one of the keys for using it. Many beginners have the wrong impression that they need to put their little finger way up here, and they find it consequently very hard to activate the key. Instead you only need to get just the edge of a key to activate the F sharp key. 01:25 3
Alternative F# Key /en/lessons/bdp63/#chapter-02-30 Let's give a few examples in music so you can understand the use of the alternate F sharp key. This first example is from the Orefici Melodic Studies number 2. You can see one note where I have an upside down A over that note. The upside down A is the symbol that I use in music to represent an alternate fingering. In this case the alternate F sharp fingering. In this case I am going to use that alternate F sharp fingering because I go from an F sharp to an A sharp. Here's a demonstration of that measure. Music. 02:30 4
Alternative F# Key /en/lessons/bdp63/#chapter-03-15 Now in this case I could have leaped the right hand thumb and gone from F sharp to A sharp. But you can see there's a wide distance in this leap. If I had a slur this it would be impossible to do that without some sort of grace note. Music. But if I do this with little finger: Music. I can make it very smooth. In fact I can have a lot of speed. Music. I couldn't possibly do that with the right hand thumb. Music. This is about as fast as I can move with the right hand thumb. So it's quite essential to work this into your technique. In fact as you are practicing your arpeggios, the F sharp major arpeggio will need to use is fingering and you should regularly work that into your technique. 03:15 5
Alternative F# Key /en/lessons/bdp63/#chapter-04-10 The next example of interest for us comes from Orefici Melodic Studies number 3. This is unusual because we have two areas, two parts of the music, where we need to give the technique for moving from F key to then the F sharp key. The first one is an approach from G flat. 04:10 6
Alternative F# Key /en/lessons/bdp63/#chapter-04-32 Music. If you notice for the high G flat I'm using this fingering. Then for the G flat I just rock my little finger. I don't slide my little finger. I just rock it, catching the end of this F sharp key to activate it. Music. From there I then go on to the B flat. We also have approaches to this from low F or even 04:32 7
Alternative F# Key /en/lessons/bdp63/#chapter-05-03 the lower octave. This is the next example found in Orefici number 3. Music. I didn't do it well that time. You can see how to start on low F and then move up. 05:03 8
Alternative F# Key /en/lessons/bdp63/#chapter-05-22 Well, I hope this video has been helpful for you. Not only do you need to use this little finger for F sharp or the G flat key for approaches to B flat but you might also need you set for an approach to E flat if you use the right hand thumb, or for any other fingerings that require the right hand thumb. Thank you. God bless. Music: "Flight of the Bumblebee". 05:22 9
Multiple Tonguing 4 /en/lessons/bdp78/ Multiple Tonguing 4 This video series (BDP#77-80) discusses performance techniques and practice methods for the sixteenth note passages in the fourth movement. By Terry B. Ewell. Bassoon Digital Professor #78. www.2reed.net. This video presents performance techniques and practice methods for the sixteenth note passages in the fourth movement of Beethoven's 4th Symphony. It is both the 2nd of 4 in the Beethoven 4th series, and the last in the Multiple Tonguing series, which is BDP 238 in Spanish and Chinese. By Terry B. Ewell. Bassoon Digital Professor #78. www.2reed.net. 0
Multiple Tonguing 4 /en/lessons/bdp78/#chapter-00-00 music: 1st Sixteenth Note Passage in Beethoven's 4th Symphony, Last Movement music: 1st Solo music: 2nd Solo 00:00 1
Multiple Tonguing 4 /en/lessons/bdp78/#chapter-00-32 music: Last Sixteenth Note Passage Well, you are going to have several decisions to make in this movement about articulation and unless you have a very rapid single tongue, you probably will use a combination of the double tongue--and that is what I do. But let me first address ways in which in which I practice this composition over the years. Ways in which I think it will be helpful for you with your articulation on the bassoon. Not only in this excerpt--Beethoven's 4th--but also in your other repertoire. 00:32 2
Multiple Tonguing 4 /en/lessons/bdp78/#chapter-01-09 One, I suggest you take the opening tutti section and practice this in multiple ways. 01:09 3
Multiple Tonguing 4 /en/lessons/bdp78/#chapter-01-16 Make sure that you fingering is sound. Practice is all slurred. music I tongued the eighth notes here. That's OK. We are mainly concerned about the sixteenth notes. I practice is slurred and then I practice it with legato tonguing, single tongue. 01:16 4
Multiple Tonguing 4 /en/lessons/bdp78/#chapter-01-40 music You get the idea there. Then as short as possible, single tongue. music By the way make certain you are using the correct fingerings that I discussed earlier. 01:40 5
Multiple Tonguing 4 /en/lessons/bdp78/#chapter-02-01 The flick key is down for every B flat, A, and C natural. That is Bb3, A3, and C4--all of those above open F. OK that is two of the articulations, the slurred, single tongue, or the very legato single tongue, and the staccato single tongue. Next I work on the double tongue. 02:01 6
Multiple Tonguing 4 /en/lessons/bdp78/#chapter-02-27 When I play the double tongue here I play it as legato as possible: trying to minimize the K consonant, the K or G consonant. music That wasn't very good. Let me try again. music A little better. At a slow speed it really sounds pretty bad. A a faster speeds a lot of that is minimized. But at a slow speed work on keeping the K or G consonant as far forward in your mouth as possible, as legato and unobtrusive as possible. You will notice as you are switching registers on the bassoon that the way in which have to tongue 02:27 7
Multiple Tonguing 4 /en/lessons/bdp78/#chapter-03-13 has to change slightly as well. Many people find that pulling the reed out of the mouth is a more successful way to engage double tongue or multiple tonguings. The final method I use is the method I use most for rapid tonguing. This is called "mixed tonguing." Sometimes I call it "combination tonguing." It combines a double tongue grouping with a single tongue grouping: T K T T T K T T. music 03:13 8
Multiple Tonguing 4 /en/lessons/bdp78/#chapter-03-51 So very slowly. What you heard in the very opening of this video is me tonguing with that pattern. So, what I suggest is that you have five different styles of working on the sixteenth note passages in fourth movement of Beethoven 4th. I suggest you take a metronome and every day start it off slowly, maybe quarter note equals 80, and slowly progress up the different metronome markings. 03:51 9
Multiple Tonguing 4 /en/lessons/bdp78/#chapter-04-19 What you are going to find is that there will be a certain place where the single tonguing--the legatissimo and staccatissimo single tonguing--start coming closer and closer and closer together. There will be a metronome marking where you can no longer separate them. You want to keep them as separate as possible because once they are together I usually find that one more metronome marking or two (when I speak about metronome markings I am talking about the old fashioned metronomes where it went in sequences: 116, 120, 126, 132, 138, 144) so that you'll find that when these two join on a certain level you don't have much longer up the speed scale, the metronome marking scale, before your single tonguing will stop. 04:19 10
Multiple Tonguing 4 /en/lessons/bdp78/#chapter-05-11 The nice thing about working all these tonguings at all these speeds is that you learn about the ability of your tongue to move. You will discover that there are certain "ruts," certain places where, "Wow," the single tongue didn't work there but then you go a little faster and now it is working. Or this mixed tonguing is working and then it doesn't work. And this double tongue...etc. So you are working on speed. When you single tongue drops out hopefully you have practiced enough so that your double and mixed tonguing are going. 05:11 11
Multiple Tonguing 4 /en/lessons/bdp78/#chapter-05-50 The reason I encourage you to use all of these tonguings and to practice different patterns is that you may not know which tonguing will work for you right now or in the future. 05:50 12
Multiple Tonguing 4 /en/lessons/bdp78/#chapter-06-03 It may in fact be several months until you know that. I ask my students, "What is the sure way of winning a horse race?" And they are puzzled. They say, "you pick a fast horse and you work him really hard." No, I tell them the sure way of winning a horse race is to make sure that every horse entered in that race is owned by you. Then you're a sure winner! If there are six in the race and you win with one and then your other five lose. But that is OK. You want to find the tonguing pattern that will work best for you. 06:03 13
Multiple Tonguing 4 /en/lessons/bdp78/#chapter-06-37 It may be that in some situations one pattern will work better than another. So if you have this flexibility with your articulation I hope that you can always come out as it were a winner; that you will always have something that is successful for you. 06:37 14
Telemann Lesson 1 /en/lessons/bdp301/ Telemann Lesson 1 Introduction to Telemann's F Dorian (F Minor) Sonata. Terry B. Ewell presents information on the best editions, melodic and harmonic aspects of the composition, and further details on the accompaniment. Music by Terry B. Ewell, Eva Mengelkoch, and Frances Borowsky. BDP #301. www.2reed.net. Introduction to Telemann's F Dorian (F Minor) Sonata. Terry B. Ewell presents information on the best editions, melodic and harmonic aspects of the composition, and further details on the accompaniment. Music by Terry B. Ewell, Eva Mengelkoch, and Frances Borowsky. BDP #301. www.2reed.net. 0
Telemann Lesson 1 /en/lessons/bdp301/#chapter-00-00 **0:11** Welcome to this series of videos on this famous work by Telemann for the bassoon. **0:19** I am Terry Ewell. This video will provide a brief introduction to the Sonata, **0:26** which will give the context for the later videos. 00:00 1
Telemann Lesson 1 /en/lessons/bdp301/#chapter-00-31 **0:31** Georg Philipp Telemann was a German Baroque composer, **0:36** whose fame during his time was established by his musical genius as well as his work ethic. **0:44** Part of the popularity of this Sonata lies not only with the quality of the composition, **0:50** but also with the reputation of Telemann, who composed abundantly in every genre of music **0:58** available in his day. In all it is estimated that he composed over 3,000 musical works. 00:31 2
Telemann Lesson 1 /en/lessons/bdp301/#chapter-01-09 **1:09** We are fortunate to have three marvelous works written for the solo bassoon. **1:16** Before I discuss the Sonata in more detail, I want to bring to your attention two other works **1:23** that have been published just over two decades ago. Telemann's Sonatinas in C minor or C Dorian **1:33** and A minor are two marvelous works that deserve just as much performance time **1:41** as the F Minor Sonata. The A minor Sonatina in particular is an extraordinary composition. 01:09 3
Telemann Lesson 1 /en/lessons/bdp301/#chapter-01-50 **1:50** The history of the two Sonatinas is quite interesting. The bassoon solo part has been **1:56** available for centuries but the continuo part, the accompaniment, was lost. There are two modern **2:06** printings of the works. In the Amadeus version of the piece the editor guesses on what that **2:13** accompaniment might have been and unfortunately is not very successful in several places. **2:21** The discovery of an old violin manuscript of the work, however, **2:26** has allowed for the restoration of the continuo part in the Schott edition. **2:32** Editions of the A minor Sonatina are available on imslp.org including the discovered violin edition. 01:50 4
Telemann Lesson 1 /en/lessons/bdp301/#chapter-02-45 **2:45** The most famous of the three solo works for bassoon is the masterpiece commonly called **2:50** the Sonata in F Minor. Actually, it really should be called the Sonata in F Dorian. 02:45 5
Telemann Lesson 1 /en/lessons/bdp301/#chapter-03-00 **3:00** The authoritative edition of the Sonata can be found for free on imslp.org. **3:07** It is also reprinted in the Amadeus version of the work. **3:11** Let's take a look at this so that we can better understand the composition. 03:00 6
Telemann Lesson 1 /en/lessons/bdp301/#chapter-03-17 **3:17** Here is the authoritative edition of the work. You will see that it comes from the publication **3:27** Der getreue Music-Meister. On page 44 of this collection of Telemann's music, **3:36** you find the solo bassoon music on the top and the continuo part on the bottom. **3:47** The little squiggle marks at the end of the lines indicate where the next note is. This **3:56** is a very polite way at that time of showing the next note. For instance, you can see on the **4:04** first line at the end a squiggle with a line through it that indicates a C above the clef, **4:11** the staff, and the next note for bassoon is a C above the staff. **4:16** This is a copy, not the original manuscript, I must add as well. **4:22** On the last page it indicates that this composition could also be played on flute. 03:17 7
Telemann Lesson 1 /en/lessons/bdp301/#chapter-04-30 **4:30** Notice the unusual key signature. Here we have some of the flats duplicated on the staff. **4:37** Reducing the duplicates leaves us with three flats, Bb, Eb, Ab. **4:44** This means that the work is not in F minor or F Aeolian rather it is in F Dorian. 04:30 8
Telemann Lesson 1 /en/lessons/bdp301/#chapter-04-56 **4:56** Now, the Dorian mode is different in Telemann's mind than minor. Compositions in the Baroque **5:03** period, particularly those in the Germanic regions, didn't fit only two categories---major **5:10** and minor. Compositional choices were not just binary but could include Dorian and Aeolian modes, **5:19** each of which had a different expression or compositional meaning for many composers. **5:27** Employing modes instead of major and minor was common for J. S. Bach as well as Telemann. 04:56 9
Telemann Lesson 1 /en/lessons/bdp301/#chapter-05-35 **5:35** The monograph by Joel Lester, *Between Modes and Keys: German Theory 1592-1802*, **5:46** brilliantly explains the mindset of Germanic composers. **5:52** In it he states: **5:54** "As late as the generation of Haydn and Mozart, German theorists of the stature of Kirnberger were **6:03** still insisting on the importance of knowledge of the modes for composers and performers alike." **6:11** Well, I don't understand what the full meaning a particular mode would have meant for Telemann. **6:18** Perhaps each mode expressed a certain sentiment for him. But I have several ideas of why Telemann **6:25** chose the Dorian mode rather than the Aeolian mode in this composition. This is an absolutely seminal **6:35** decision that influences the composition on several levels. Let me explain this to you. 05:35 10
Telemann Lesson 1 /en/lessons/bdp301/#chapter-06-42 **6:42** The Dorian mode with three flats has a D natural in the scale. **6:49** This differs from the Aeolian mode, with four flats, that has a Db as part of the scale. **6:56** The Aeolian mode became the standard way to express the minor key in the Baroque **7:01** period and later. A Db in the Aeolian mode is part of the scale collection and thus has no **7:09** constraints for resolution. That scale member could move upward or downward. Notice, however, **7:17** that when a Db is introduced into a Dorian scale, it must be expressed with an accidental. **7:25** The accidental is an alert to both the composer and the performer that something is different, **7:32** and this note needs to be treated with special care. This special treatment of Db and in **7:38** particular the downward movement after the note is an important feature of the first movement. 06:42 11
Telemann Lesson 1 /en/lessons/bdp301/#chapter-07-48 **7:48** Here is the first page as given in the authoritative edition. Notice that I put **7:56** red lines over those notes where that Db in the first movement resolves downward. **8:04** This is a very important and prominent feature in the first movement. **8:15** Any accidental in the music during the Baroque period not only draws the attention of the eye, **8:22** but also triggers the mind to look for how this out-of-key-note will be resolved. **8:29** Here the half step resolution downward is required and appears frequently in the movement. 07:48 12
Telemann Lesson 1 /en/lessons/bdp301/#chapter-08-37 **8:37** Furthermore, in this composition the use of the Dorian mode restricts harmonic choices in the **8:43** composition. In typical minor compositions the work often features a movement in the relative **8:50** major of the key. For instance, an A minor composition will have a C major movement. **8:59** This is not the case with Telemann's F Dorian Sonata. **9:03** The third movement features the dominant, C minor, rather than the relative major key, Ab major. **9:13** The third movement is unusually because there is a play between E flat and E natural. The E flat **9:20** fits the Dorian mode. However, the E natural allows for the C chord to be the dominant of F. 08:37 13
Telemann Lesson 1 /en/lessons/bdp301/#chapter-09-35 **9:35** Now, the F Dorian Sonata is not the only work where Telemann makes use of modes. **9:41** For instance, Telemann's *Zwanzig kleine Fugen*, Twenty Small Fugues, **9:46** presents carefully crafted modal compositions evidenced by his tables in the preface. **9:53** So, when Telemann chose the Dorian mode in this composition, it was not just a haphazard **10:00** selection. The Dorian mode imposes relationships with the composition's melody and harmonies. **10:10** Well, let's move on. 09:35 14
Telemann Lesson 1 /en/lessons/bdp301/#chapter-10-12 **10:12** It is important to understand that most Baroque Sonatas are two-part compositions. **10:19** They have one melody in the treble or bass clef and one melody in the bass clef. **10:25** This is quite different than most compositions in the Classical and Romantic periods. **10:33** You can see the two melodies quite clearly in the second movement. **10:39** The movement starts with a clear melody in the bassoon. **10:45** There is a supporting melody, which looks more like a harmonic part in the bass. You **10:50** can see that the bass line picks up that melody during the time that the bassoon is resting. 10:12 15
Telemann Lesson 1 /en/lessons/bdp301/#chapter-10-58 **10:58** It is extremely important that performers realize that Baroque chamber compositions **11:03** are really conversations between equal partners. Yes, the bass part has the responsibility of **11:10** anchoring the harmony, but unlike most bass parts in Classical and Romantic music, these lower lines **11:18** are really melodies as well. For this reason, many of the Baroque Sonatas make excellent duets. 10:58 16
Telemann Lesson 1 /en/lessons/bdp301/#chapter-11-27 **11:27** The lower line is called the continuo part. The lower line should be performed by two **11:33** instruments not just one. The bass line could be played with a cello or bassoon. **11:39** In addition, the left hand of the harpsichord player or sometimes organ player **11:44** would double this bass line providing even more volume and balance to the solo part. 11:27 17
Telemann Lesson 1 /en/lessons/bdp301/#chapter-11-52 **11:52** The numbers given in the music provide guidance on the harmonies to be played. **11:58** In a sense, Baroque music has more in common with Jazz than Classical music. **12:05** All the notes performed are not printed in Baroque music. It is a bit like a chart in Jazz in which **12:13** it is expected that the musicians would add their personal touch with improvisation. **12:19** The numbers would be realized or expressed with the right of the harpsichord player. **12:25** Players at that time created new accompaniments in the right hand at each reading. 11:52 18
Telemann Lesson 1 /en/lessons/bdp301/#chapter-12-32 **12:32** Well, now that you have a brief overview of the composition it is now time for you to understand **12:39** common mistakes that occur in performances of the work. Please see the next video. **12:46** *Music: Telemann F Dorian Sonata, 4th movement by Terry B. Ewell, bassoon,* **12:51** *Eva Mengelkoch, harpsichord, and Frances Borowsky, cello.* 12:32 19
Telemann Lesson 2 /en/lessons/bdp302/ Telemann Lesson 2 Common mistakes with performances of Telemann's F Dorian (F Minor) Sonata. Terry B. Ewell discusses the best edition, using accompaniments, and common mistakes by pianists. Music by Terry B. Ewell, Eva Mengelkoch, and Frances Borowsky. BDP #302. www.2reed.net. Common mistakes with performances of Telemann's F Dorian (F Minor) Sonata. Terry B. Ewell discusses the best edition, using accompaniments, and common mistakes by pianists. Music by Terry B. Ewell, Eva Mengelkoch, and Frances Borowsky. BDP #302. www.2reed.net. 0
Telemann Lesson 2 /en/lessons/bdp302/#chapter-00-00 **0:01** \<music: Telemann F Dorian Sonata, 3rd movement by Terry B. Ewell, bassoon, Eva Mengelkoch, **0:09** harpsichord, and Frances Borowsky, cello.\> I have listened to many student performances **0:16** of the Telemann F Dorian Sonata as an adjudicator for solo competitions in Maryland and West **0:24** Virginia. Year after year I come across mistakes that are common to many performers. It will **0:33** be helpful for you to avoid these mistakes as you study the Sonata. **0:40** The first and in some ways the most serious mistake is to read from a poor edition of 00:00 1
Telemann Lesson 2 /en/lessons/bdp302/#chapter-00-41 **0:47** the Sonata. There are many editions of the work available. Here, for instance, are some **0:54** of the editions that I have in my personal library. 00:41 2
Telemann Lesson 2 /en/lessons/bdp302/#chapter-00-59 **0:59** However, some of the editions create problems for the performer by adding dynamics, slurs, **1:07** and even changing notes that were not in the original part. For instance, see this version **1:13** from Russia that is available on imslp.org. The editor of the bassoon part is Valery Popov, **1:23** one of the greatest bassoonists ever seen in Russia. **1:29** I have highlighted in yellow here some of the departures from the authoritative edition **1:34** of the work. First off, there are four flats in the key signature instead of three. There **1:40** is a forte put in the first measure that is not in the original edition. Now, I do indeed **1:46** follow that and I play forte, but I am alerting you to changes. The parentheses are put around **1:54** the piano where Telemann does indicate that. In the next measure, measure 3, there are **2:01** parentheses around the forte where again Telemann puts those in. **2:08** You will see that there are even changes of notes. A little lower down you will see that **2:15** there is a C3 in the part when in the authoritative edition it is a C2 that is the low C on the **2:23** instrument. Now, the International Music Company edition 00:59 3
Telemann Lesson 2 /en/lessons/bdp302/#chapter-02-27 **2:27** of the Sonata takes even more liberties. Let's just examine the first line. **2:30** The authoritative edition of the work can be found for free on imslp.org. Since the 02:27 4
Telemann Lesson 2 /en/lessons/bdp302/#chapter-02-31 **2:32** authoritative edition is free for anyone who has access to the Internet, there is no excuse **2:33** today for any bassoonist to be performing the work without reference to the original **2:34** composition. I discussed the unusual features of this authoritative edition in the last **2:35** video. If you did not see it yet, please refer to it. There is a change in the key signature, **2:36** there are added dashes on notes, there is a mf given, crescendos and diminuendos, added **2:43** slurs; all of that. Now, as a performer you might indeed want to play those, but first **2:51** you need to know exactly what Telemann wrote and then you can make the changes. So, it **2:58** is quite important to find the authoritative work to read first. 02:31 5
Telemann Lesson 2 /en/lessons/bdp302/#chapter-03-05 **3:05** If you looked at the last video, you will know that I have made reference to this. Here **3:08** again is the website where you can find the work on IMSLP. This authoritative edition **3:18** that was taken from a collection of works by Telemann. If you are seeking a modern edition **3:26** of the work, you need to consult this. The authoritative version of the work is also **3:33** reprinted in the Amadeus edition. If you are seeking a modern version of the work, this **3:39** is the only version that I recommend. Practicing without an accompaniment is a common 03:05 6
Telemann Lesson 2 /en/lessons/bdp302/#chapter-03-46 **3:46** problem for many students today and particularly for this COVID-19 period. **3:54** This problem is quickly remedied by visiting my website 2reed.net. The greatest variety **4:01** of files are available in the MIDI format. As you can see there are older files by others **4:09** and me and then in December in preparation for these videos, I created some new files. **4:17** The mp3 files are here. You can just click and play them from the website. Notice that **4:27** most of the movements here have accompaniments in multiple tempos. At the bottom there are **4:33** links music at imslp.org. In the future I will include the links to these videos here **4:41** as well. Let's select one of the newer files and 03:46 7
Telemann Lesson 2 /en/lessons/bdp302/#chapter-04-46 **4:46** listen to it. You can hear two instruments a cello and harpsichord. Although many students **4:54** only have experience with a piano accompaniment this version is actually closer to Telemann's **5:01** intensions. The piano was not yet used as an accompaniment instrument at the time of **5:06** the composition. Since I have provided these files to you for 04:46 8
Telemann Lesson 2 /en/lessons/bdp302/#chapter-05-13 **5:13** free, there is no excuse not to practice with the accompaniments. This will help you to **5:18** learn the piece and better understand the relationship between the solo part and the **5:23** accompaniment. If you practice quite frequently with these files, then it will be an easy **5:29** matter to rehearse with your live accompanist at a later time. 05:13 9
Telemann Lesson 2 /en/lessons/bdp302/#chapter-05-34 **5:34** Accompanists, however, often do not understand how to perform Baroque keyboard parts. **5:43** Here is a page from the International Music Company edition of the work. Pianists are **5:49** trained to bring out the melody by playing the top notes the loudest. Most pianists would **5:56** then play these notes louder than the bass part. However, this is entirely incorrect. 05:34 10
Telemann Lesson 2 /en/lessons/bdp302/#chapter-06-04 **6:04** Let's look at the authoritative version for this movement. Notice that only the bass **6:11** notes are given for the keyboard player. The numbers indicate what would be in the right **6:17** hand of the harpsichord. So, the entire right hand given in the piano here is not in the **6:25** original music at all. Rather it is a realization of the music. 06:04 11
Telemann Lesson 2 /en/lessons/bdp302/#chapter-06-32 **6:32** The real melody given by Telemann to the accompanist is in the left hand, the bass part. Normally **6:37** this would be doubled by another instrument and thus louder. The upper notes on the harpsichord **6:45** are quieter in any case. So, the accompanist should emphasize the bass notes and lightly **6:52** play the upper notes. For more information on this please see the 06:32 12
Telemann Lesson 2 /en/lessons/bdp302/#chapter-06-58 **6:58** video titled "Baroque Accompaniments on Piano" BDP #42. **7:04** The next video will introduce the subject of ornamentation and provide examples from 06:58 13
Telemann Lesson 2 /en/lessons/bdp302/#chapter-07-05 **7:11** the Telemann Sonata. Furthermore, I will point to some additional resources that can aid **7:18** your performance of the Sonata. \<music: Telemann F Dorian Sonata, 4th movement **7:25** by Terry B. Ewell, bassoon, Eva Mengelkoch, harpsichord, and Frances Borowsky, cello.\> 07:05 14
Telemann Lesson 3 /en/lessons/bdp303/ Telemann Lesson 3 Additions and ornamentation in Telemann's F Dorian (F Minor) Sonata. Terry B. Ewell discusses the addition of dynamics, articulations, and ornaments. Music by Terry B. Ewell, Eva Mengelkoch, and Frances Borowsky. BDP #303. www.2reed.net. Additions and ornamentation in Telemann's F Dorian (F Minor) Sonata. Terry B. Ewell discusses the addition of dynamics, articulations, and ornaments. Music by Terry B. Ewell, Eva Mengelkoch, and Frances Borowsky. BDP #303. www.2reed.net. 0
Telemann Lesson 3 /en/lessons/bdp303/#chapter-00-00 **0:04** *music: Telemann F Dorian Sonata, 3rd movement by Terry B. Ewell, bassoon,* **0:09** Eva Mengelkoch, harpsichord, and Frances Borowsky, cello. **0:12** In this video I will provide an overview of ornamentation **0:17** in the solo part for the Telemann F Dorian Sonata. Then I will conclude with information **0:25** on resources that I have prepared for you to better understand and perform Baroque music. 00:00 1
Telemann Lesson 3 /en/lessons/bdp303/#chapter-00-34 **0:34** The starting point, of course, for ornamenting the Sonata is with the authoritative edition of the **0:41** work. You can see here that the solo part is quite sparse. Few dynamics, slurs, and articulations are **0:52** given. In addition, ornaments need to be added in required locations as well as optional locations. **1:03** Let's take each of these issues one by one. 00:34 2
Telemann Lesson 3 /en/lessons/bdp303/#chapter-01-07 **1:07** Baroque music features two dynamic markings: piano and forte. **1:19** If you ever see an edition of Baroque music with pp, mp, **1:26** or mf you know immediately that this edition includes many markings not given by the composer. **1:38** However, as a performer you might want to play these dynamics in your performance. **1:44** In general, however, contrast been quiet and loud, piano and forte will work well. 01:07 3
Telemann Lesson 3 /en/lessons/bdp303/#chapter-01-54 **1:54** In my performance of the first movement, for instance, I add these dynamics which appear in **2:01** red. Telemann provides a good example for how to make use of dynamics in the first three measures. **2:10** The echo dynamic, piano, in the second measure is a common way to add interest in Baroque music. **2:20** The first statement in measure 1 is loud and the second statement is quiet. I use that idea **2:28** for the dynamics in measures 11-12, forte, and then the echo in measures 13 and 14. **2:40** Also, later in the movement measures 27-28 are an echo to measures 25 and 26. 01:54 4
Telemann Lesson 3 /en/lessons/bdp303/#chapter-02-50 **2:50** You might also make use of dynamics to provide contrast between **2:54** movements. Although Telemann gives no dynamics for the third movement it is **3:00** appropriate to perform this movement more quietly than the fourth movement. 02:50 5
Telemann Lesson 3 /en/lessons/bdp303/#chapter-03-09 **3:09** Be aware that crescendos and diminuendos on the whole were not employed much in Baroque music. **3:16** The Mannheim School of composers and musicians in the latter part of the 18th century developed **3:24** innovations including the use of a group crescendo. This was not, however, common in the **3:31** Baroque period and in fact the principal keyboard instrument of the time, the harpsichord, could **3:37** not crescendo or diminuendo. Dynamics tended to be terraced or in steps. My suggestion is to make use **3:46** of crescendos sparingly and mostly feature diminuendos at the ends of phrases or movements. 03:09 6
Telemann Lesson 3 /en/lessons/bdp303/#chapter-03-55 **3:55** The one important exception, however, is messa di voce. This is a crescendo and diminuendo over **4:06** a single held note. Appropriate places for this are given in the green boxes on the first line. **4:14** The B flat 3 in measures 3 and 4 is a dissonance by Baroque standards. It is a **4:20** sustained note that can be highlighted with this dynamic and then resolved downwards. **4:26** The D flat 4 in measure 7 and 8 is non-scale note in the Dorian mode mentioned in the first **4:38** video in this series. The accidental indicates that it is not part of the scale collection **4:45** and like the earlier B flat 3 it should be featured in a special way and then resolved. **4:55** *music: first movement, Telemann* **5:01** Sonata 03:55 7
Telemann Lesson 3 /en/lessons/bdp303/#chapter-05-35 **5:35** Composers of Baroque music generally allowed the musicians to put in slurs **5:40** as needed. Since some music such as this Sonata was performed by **5:47** different instruments it makes sense for musicians to determine what will work best. The slurs **5:55** that I use for this Telemann Sonata might not work as well on the flute, for instance. **6:04** In general, I place more slurs in slower movements than faster **6:09** movements. This better expresses the lyrical feelings of the slower movements. 05:35 8
Telemann Lesson 3 /en/lessons/bdp303/#chapter-06-19 **6:19** Different slurs and articulations can also be a way to vary the music and keep interest. **6:26** For instance, in the opening of the second movement I vary the slurring of **6:31** the repeated figure. The first time I give no slurs, but the second time I add slurs. **6:40** Later in the second movement the green box highlights music that I perform in two different **6:45** ways. The first time I perform it with slurs. The second time I perform it with staccato notes. **7:01** *music: second movement, Telemann Sonata* 06:19 9
Telemann Lesson 3 /en/lessons/bdp303/#chapter-07-27 **7:27** John Miller's lecture on the Mozart Bassoon Concerto **7:30** contains important ideas about articulation that can be applied to Telemann's works as well. **7:38** John Miller, a famous USA bassoonist, **7:41** has provided great service to the profession with his lectures, articles, and performance editions. 07:27 10
Telemann Lesson 3 /en/lessons/bdp303/#chapter-07-48 **7:48** Slurs can also facilitate technical passages. In measure **7:55** 35 and later it makes sense to slur the adjacent 16th notes rather than tongue all the notes. **8:04** Also, be aware that in Baroque practice it is more common to slur adjacent notes rather than leaps. 07:48 11
Telemann Lesson 3 /en/lessons/bdp303/#chapter-08-12 **8:12** Last of all, is something to consider that cannot be notated. Baroque performance practice **8:20** includes a greater variety of articulations than common for later periods of music. **8:28** Treatises of that period discuss different types of tonguing strokes. **8:34** The harpsichord itself allows for little variety apart from note lengths and timings and so **8:42** great players of this instrument are quite sophisticated with their articulations. 08:12 12
Telemann Lesson 3 /en/lessons/bdp303/#chapter-08-50 **8:50** My article "A Bassoonist's Expansions upon Marcel Tabuteau's 'Drive'" hints at this **8:57** when I discuss varied note lengths in a passage of Vivaldi's A minor Concerto. The figure indicates **9:05** note lengths with numbers. The higher the number the longer the note. So, numbers 5 are played **9:13** the longest and numbers 1 are the shortest. These subtle changes in note lengths allow the performer **9:23** to emphasize certain notes above others and shape the musical line in different ways. **9:31** The longer numbers provide for notes that receive more emphasis. 08:50 13
Telemann Lesson 3 /en/lessons/bdp303/#chapter-09-38 **9:38** There are certain ornaments that are required in Baroque music that are often not in original **9:46** manuscripts. These ornaments were so common that the composer didn't bother to waste the ink. **9:54** Everyone at that time knew that they had to be included. **9:58** We find examples of this in the first movement of the Sonata. Trills are required at the ends **10:04** of sections and movements. Thus, trills are needed in measures 18, 33, and 37. 09:38 14
Telemann Lesson 3 /en/lessons/bdp303/#chapter-10-16 **10:16** Now we get to the most interesting part of performing Baroque music. Florid ornamentation **10:23** or diminution was a craft practiced by all musicians at the time the Sonata was written. **10:31** I will not spend time here on ornamentation because I have already addressed the subject in **10:37** five other videos. Please do have a look at these and the Baroque music resource page on 2reed.net. 10:16 15
Telemann Lesson 3 /en/lessons/bdp303/#chapter-10-49 **10:49** Please also consider John Miller's edition of the Sonata. **10:53** In it Mr. Miller gives his suggested ornamentation as well as the original version of the passage. 10:49 16
Telemann Lesson 3 /en/lessons/bdp303/#chapter-11-03 **11:03** Also, I provide my performance edition to the last two movements **11:08** that accompany the last video in this series. 11:03 17
Telemann Lesson 3 /en/lessons/bdp303/#chapter-11-14 **11:14** Well, I hope that these comments are helpful to you. In the next video we **11:19** will conclude our discussion of ornamentation **11:22** by looking at cadenzas and what I am calling "flourishes," which are virtuosic passages. **11:29** Also, the importance of tempo relationships between the movements will be considered. **11:41** *music: Telemann F Dorian Sonata, 4th movement* **11:50** by Terry B. Ewell, bassoon, Eva Mengelkoch, harpsichord, and Frances Borowsky, cello. 11:14 18
Telemann Lesson 4 /en/lessons/bdp304/ Telemann Lesson 4 Cadenzas, flourishes, and tempo in Telemann's F Dorian (F Minor) Sonata. Terry B. Ewell discusses additions of florid ornamentation and recommends considerations for tempo in this and other Common Practice works. Music by Terry B. Ewell, Eva Mengelkoch, and Frances Borowsky. BDP #304. www.2reed.net. Cadenzas, flourishes, and tempo in Telemann's F Dorian (F Minor) Sonata. Terry B. Ewell discusses additions of florid ornamentation and recommends considerations for tempo in this and other Common Practice works. Music by Terry B. Ewell, Eva Mengelkoch, and Frances Borowsky. BDP #304. www.2reed.net. 0
Telemann Lesson 4 /en/lessons/bdp304/#transcript-01 **0:02** *music: Telemann F Dorian Sonata, 3rd movement by Terry B. Ewell, bassoon,* 1
Telemann Lesson 4 /en/lessons/bdp304/#transcript-02 **0:07** Eva Mengelkoch, harpsichord, and Frances Borowsky, cello. 2
Telemann Lesson 4 /en/lessons/bdp304/#transcript-03 **0:11** In this fourth video on the Telemann Sonata in F Dorian we will consider cadenzas and what I 3
Telemann Lesson 4 /en/lessons/bdp304/#transcript-04 **0:19** am calling "flourishes." Also, this video will conclude with a discussion of tempo relationships. 4
Telemann Lesson 4 /en/lessons/bdp304/#transcript-05 **0:28** Baroque concertos, of course, required the creation of cadenzas. Please see my website for 5
Telemann Lesson 4 /en/lessons/bdp304/#transcript-06 **0:36** examples of some cadenzas in Baroque and Classical music. Baroque sonatas, however, do not normally 6
Telemann Lesson 4 /en/lessons/bdp304/#transcript-07 **0:46** have cadenzas added although in the third movement of the Sonata I do see the opportunity for one. 7
Telemann Lesson 4 /en/lessons/bdp304/#transcript-08 **0:59** In the last measure of the third movement, I added several notes that elaborate the dominant chord on 8
Telemann Lesson 4 /en/lessons/bdp304/#transcript-09 **1:06** C. This cadenza is pretty much in tempo since the measure moves immediately into the next movement. 9
Telemann Lesson 4 /en/lessons/bdp304/#transcript-10 **1:16** The music shown with the performance is from the authoritative version. 10
Telemann Lesson 4 /en/lessons/bdp304/#transcript-11 **1:25** *music: Telemann 3rd movement.* 11
Telemann Lesson 4 /en/lessons/bdp304/#transcript-12 **1:47** When given the chance, I like to end a virtuosic movement with a flourish of notes. 12
Telemann Lesson 4 /en/lessons/bdp304/#transcript-13 **1:55** Thus, in the second movement there is a wonderful chance to add many notes on the 13
Telemann Lesson 4 /en/lessons/bdp304/#transcript-14 **2:02** last line of music. The music shown with the performance is from the authoritative version. 14
Telemann Lesson 4 /en/lessons/bdp304/#transcript-15 **2:07** *music: Telemann 2nd movement.* 15
Telemann Lesson 4 /en/lessons/bdp304/#transcript-16 **2:46** In the last movement, I enjoy adding a downward scale in the second repetition at the end. 16
Telemann Lesson 4 /en/lessons/bdp304/#transcript-17 **2:55** The music shown with the performance is from the authoritative version. 17
Telemann Lesson 4 /en/lessons/bdp304/#transcript-18 **3:00** *music: Telemann 4th movement.* 18
Telemann Lesson 4 /en/lessons/bdp304/#transcript-19 **3:30** I also add a trill at the end as is commonly done to conclude important sections and movements. 19
Telemann Lesson 4 /en/lessons/bdp304/#transcript-20 **3:41** It is mystifying to me that performers play movements in Baroque sonatas at tempos 20
Telemann Lesson 4 /en/lessons/bdp304/#transcript-21 **3:47** that bear no relationship. This is particularly poor practice with 21
Telemann Lesson 4 /en/lessons/bdp304/#transcript-22 **3:54** movements that are harmonically connected such as the third and fourth movements of this Sonata. 22
Telemann Lesson 4 /en/lessons/bdp304/#transcript-23 **4:02** The dominant chord at the end of the third movement provides an unbreakable link to the 23
Telemann Lesson 4 /en/lessons/bdp304/#transcript-24 **4:08** next movement. I think this is best played in tempo with the quarter note beat of the Andante 24
Telemann Lesson 4 /en/lessons/bdp304/#transcript-25 **4:17** approximating the dotted quarter note tempo of each measure in the Vivace. 25
Telemann Lesson 4 /en/lessons/bdp304/#transcript-26 **4:55** I have written articles and provided videos that further explain tempo relationships 26
Telemann Lesson 4 /en/lessons/bdp304/#transcript-27 **5:02** and the term tactus. 27
Telemann Lesson 4 /en/lessons/bdp304/#transcript-28 **5:05** It appears that performance practice in London during Handel's time emphasized 28
Telemann Lesson 4 /en/lessons/bdp304/#transcript-29 **5:11** tempo relationships. This was evidenced by the barrel organ. 29
Telemann Lesson 4 /en/lessons/bdp304/#transcript-30 **5:19** Writings by Quantz and others indicated that they viewed tempos in relationships as well. 30
Telemann Lesson 4 /en/lessons/bdp304/#transcript-31 **5:28** I think that there is a strong case to be made that the movements of Vivaldi concertos as well 31
Telemann Lesson 4 /en/lessons/bdp304/#transcript-32 **5:34** as the movements of the Mozart Bassoon Concerto are best performed with tempo relationships. 32
Telemann Lesson 4 /en/lessons/bdp304/#transcript-33 **5:43** I encourage you to explore this issue further with the Baroque and Classical music you perform. 33
Telemann Lesson 4 /en/lessons/bdp304/#transcript-34 **5:51** I recommend tempos of 108 to link the first and second movements. That is an eighth note 34
Telemann Lesson 4 /en/lessons/bdp304/#transcript-35 **5:59** for the first movement and a quarter note for the second movement. And the tempo of 44 35
Telemann Lesson 4 /en/lessons/bdp304/#transcript-36 **6:07** to link the third and fourth movements. That is 44 for the quarter note in the third 36
Telemann Lesson 4 /en/lessons/bdp304/#transcript-37 **6:14** movement and 44 for the dotted quarter, which would be an entire measure, in the last movement. 37
Telemann Lesson 4 /en/lessons/bdp304/#transcript-38 **6:25** Well, this concludes my discussions on the Telemann F Dorian Sonata. 38
Telemann Lesson 4 /en/lessons/bdp304/#transcript-39 **6:33** I hope that these videos have provided important information about this work, the performance 39
Telemann Lesson 4 /en/lessons/bdp304/#transcript-40 **6:39** practice at the time, and ways in which you can better practice and present the Sonata. 40
Telemann Lesson 4 /en/lessons/bdp304/#transcript-41 **6:48** The last video in the series is a recording that I made with colleagues, 41
Telemann Lesson 4 /en/lessons/bdp304/#transcript-42 **6:53** Drs. Mengelkoch and Borowsky, in January 2020. I hope that you enjoy the performance. 42
Telemann Lesson 4 /en/lessons/bdp304/#transcript-43 **7:02** God bless you! 43
Telemann Lesson 4 /en/lessons/bdp304/#transcript-44 **7:15** *music: Telemann F Dorian Sonata, 4th movement by Terry B. Ewell, bassoon,* 44
Telemann Lesson 4 /en/lessons/bdp304/#transcript-45 **7:20** Eva Mengelkoch, harpsichord, and Frances Borowsky, cello. 45
Telemann Performance, Movements 3 and 4 /en/lessons/bdp305/ Telemann Performance, Movements 3 and 4 Performance of Telemann's F Dorian (F Minor) Sonata, 3rd and 4th movements. By Terry B. Ewell, bassoon; Eva Mengelkoch, harpsichord; and Frances Borowsky, cello. BDP #305. www.2reed.net. Performance of Telemann's F Dorian (F Minor) Sonata, 3rd and 4th movements. By Terry B. Ewell, bassoon; Eva Mengelkoch, harpsichord; and Frances Borowsky, cello. BDP #305. www.2reed.net. 0

Bassoon Digital Professor #7a.

Circular Breathing: Part 1a Concepts

Concepts and Diagrams to Explain Circular Breathing
Open lesson
Bassoon Digital Professor #7b.

Circular Breathing: Part 1b Concepts

Concepts and Diagrams to Explain Circular Breathing
Open lesson
Bassoon Digital Professor #76.

Practice Methods for Circular Breathing

Practice methods for Circular Breathing using a straw, bassoon bocal, and the instrument.
Open lesson

Circular Breathing

Circular Breathing: Part 1a Concepts

Circular Breathing: Part 1b Concepts

Practice Methods for Circular Breathing